Rocco und seine Brüder

Visconti at his peak. We are in the fifties, when Italian economy experiences a post-war boom. A Sicilian family arrives to Milan running from south's poverty. They dream with a new life at the industrial pole of the north. But Milan is not precisely a land of opportunities. Exploitation and xenophobia is the common destiny for those who came from south of the country. This film is a perfect sequel to "La Terra Tembla", one of the earliest Visconti's looks on Marxism. The hopes and lives of this five brother's family sink onto a pit at the same time as they destroy themselves. "Rocco and ..." is intensely played by the entire cast, including a young and delicate Alain Delon as the idealistic Rocco, an exquisite Annie Girardot as a prostitute trying to survive to her own hell and a terrific Renato Salvatori. But is the figure of the peasant mother, played superbly by Katina Paxinou, the most remarkable piece of this operatic story. Claudia Cardinale made some kind of Italian debut in this film. Nino Rota composes his most pitiful score and the black and white photography is stunning. The scene at the rooftop of Milan's Duomo is one of my all-time favorites. The American version is usually cut so try to find the original or some DVD restoration. A must see film.

I feel that this is just as much about his brothers as it is about Rocco. I don't even think Rocco is the key figure in the story. The film is constructed of five chapters in each of which the emphasis is more or less on one of the five brothers (Vincenzo Parondi, Simone, Rocco, Ciro, Luca). The chapter about the youngest brother contains remarks about about their attitude towards life and the philosophy for the future. But it never gets heavy-handed because everything is so natural and the whole is very accessible. The story is about the struggle of a family from the south of Italy that moves to the city (in the first minute) and struggles with jealousy, wrath, regrets, confusion and citylife. But the most important element throughout the film are the bonds between the members of the family, which you guessed from the title ofcourse.

Cinematographer Giuseppe Rotunno (Amarcord, Regarding Henry, Il Gattopardo -> all three not comparable BTW) and the other makers of this film where not ambitious or pretentious while making this masterpiece: that would really have been besides the point they were making and unnecessary too, because the story and the pace don't need it and the cast is brilliant.

Some more references. The score was done by Nino Rota (Godfather, Amarcord, Il Gattopardo): the tune that helped making Godfather famous was already more or less completed here in 'Rocco'. The film might have been inspired by Ladri di biciclette (1948) and may in turn have been the inspiration for Raging Bull (1980), the Outsiders (Coppola, 1983) and even the Godfather, although 'Rocco' has nothing to do with neither mafia nor with America. In 1963 Delon, Cardinale (who has a very small role in 'Rocco') and Visconti would work together on Il Gattopardo. But 'Rocco' has to be Visconti's greatest! (besides Morte a Venezia, which is a TOTALLY different film BTW). Also see Hotel New Hampshire (1984).

10 points out of 10 :-)

This is perhaps Visconti's most powerful work, though today it may seem a little overwrought and dated.

"Rocco e sui fratelli" from 1960 is about a rural family (Katina Paxinou as Rosaria, Alain Delon as Rocco, Renato Salvatori as Simone, Spiros Focás as Vincenzo, Max Cartier as Ciro and Rocco Vidolazzi as Luca) who move from southern Italy to Milano, hoping to make a better life for themselves.

The brothers are all different, and therein lies the story, with the focus particularly on Rocco (Delon), a gentle soul who cares about his family and his family's honor, and Simone (Salvatori), a man with an addictive personality who only cares about himself.

Both Rocco and Simone fall for the same woman, a hooker (Anne Girardot) and come to blows - physically, since both Simone and Rocco train as boxers.

This isn't always an easy film to watch as it contains violence, rape, and murder. It also is extremely melodramatic by today's standards, with Paxinou's strong performance as the mother perhaps being viewed today as over the top. Acting styles have changed.

It's also a rather misogynistic film - well, it is Italy, it is another time period, and I'm not one who believes in cancel culture. It is also overly long - I saw the cut version, I believe, 168 minutes. I think certain scenes were cut due to censorship.

Though the film is in black and white, the look of Italy is amazing and expansive, as is the acting, particularly from Delon and Salvatori as they come up against one another in a biblical story. Claudia Cardinale pre-nosejob has a small role.

Delon, of course, is gorgeous. Hard to believe he'll be 85 this year.

ROCCO AND HIS BROTHERS is a crime drama about the struggle of a poor Italian family from the South with an unknown and "modern" city life. This family drama is full of emotional turmoils and tragic upheavals.

The four sons of a poor rural Italian family from the South travel with their mother to join their oldest brother in Milan. Each of the five brothers must adjust to a new life in the big city. Their mother is a strong bond that connects them. However, it is difficult to be a harmonious family in the big city. A beautiful prostitute is a cause of discord in their family...

Every new experience in the lives of these people is a kind of incident. The protagonists are not able to change their lives. The family is what makes life. Life without the family does not make sense. This is a realistic view of a bitter life, which have gradually extinguished. Emotions are not consistent with the nature of some of the protagonists. Therefore, strong outbursts of emotions are a little bit grotesque. Jealousy, devotion to family or an unrequited love are completely normal life situations. In this case, these are incurable life's wounds. Emotionalism and realism are so intertwined that it is impossible to draw a clear line in some key scenes. Therefore, certain events in this film can not be called a life experience, more a tragedy.

The atmosphere is obscured. It is a reflection of a life in the fog, without a clear future. Some scenes are truly shocking. Their significance is even greater, because, human spirit is excommunicated through these scenes.

Alain Delon as Rocco Parondi is a loyal, generous and naive young man. He carries a burden of deep pain and family responsibilities on his shoulders. A character, who is trying to find the best in people. His performance has certainly captured the hearts of many viewers.

Annie Girardot as Nadia has offered a great performance. A young and beautiful prostitute is torn between two philosophies of life. However, she is not able to choose between a false urban hedonism and true love. Others have chosen for her. It is a tragedy of her character. Renato Salvatori as Simone Parondi is a restless and depressed loafer. A violent man, who can not settle down. The big city is full of good opportunities, but some of them may be a great challenge for an inexperienced young man.

Their support are Katina Paxinou (Rosaria Parondi) as a hysterical and helpless mother, Max Cartier (Ciro Parondi) is a kind of voice of reason, Spiros Focás (Vincenzo Parondi) is a quiet and calm oldest brother and Claudia Cardinale (Ginetta) is his emotional wife.

This is a dynamic story about members of Parondi family which is falling apart under an influence of crime, mutual misunderstanding and superstition.

I am a fan of Visconti movies. for the Barroco nuances and poetry of small things. for beauty of details and courage to present slices of a neorealism in which is mixed nostalgic crumbs of a world fall and need of new society definition. Rocco was first movie by him who I saw it. a film - bitter story. picture of a family, map of searches, touching drawing of a victory of city and the love as delicate web. and, sure, one of wonderful roles of Alain Delon. in fact, a gate, or only a window to a time who becomes ours. because story is universal. and the figure of poor mother - letter of a never ending poem , is remarkable. end of an age. seed of a new form of self definition for Italian cinema. but, very important, testimony, not about a period. but a state of soul. must see it !