Les enfants volés

Amelio and Enrico lo Verso compenetrate perfectly. I believe is one of the most humanistic movies I have seen in a long time. The performance of the actors is great and the story is simple but very powerful. There is beautiful line that can be seen how the Enrico and the kids gel along the, movie and it is very interesting.

As another person said and I agree, it is one of the best child performances I have ever seen. Excellent.

The story of a young carabiniere that has been assigned the job to escort a couple of minors from Milan to their native Sicily. Stops along the way include the riviera (around Genova or Livorno), Rome, Calabria. Travel is done by train and by car. We see segments of italy in their socio-economic regional realities. The folks in Calabria are seen living next to a busy road in a house with no stucco covering the bare bricks, a common tactic used in the south to qualify for a taxation exemption (being the house not completed). Smartly filmed, it candidly reveals an Italy closer to what natives struggling to make a living would experience in having to travel along the length of the Italian booth. This is a fictional movie, but there is an effort to make evident how realistically people live today.

The child actors are supreme and the plot development feels real from beginning to end.

There are very few films that can make us confront a difficult issue without resorting to maudlin tears or some other form of emotional manipulation. This is one of them -- no Hollywood treatment here.

And I like the fact that the trip is a journey -- both physically and spiritually. It starts in the north of Italy and leads us progressively towards its southern extremity in Sicily. As the children migrate to the South, our hopes and hearts warm as we come to expect a new emotional climate for them. As with any film intending to make a serious comment on the devestating nature of child abuse, something intervenes to prove to us that our hopes are premature.... This film betrays no compromise in its portrayal of innocence lost and regained and lost once again. The scene at the end with the girl comforting her brother is one of the most poignant I know in film.

I would put this film at the top of a narrow list of films addressing childhood trauma (including "Salaam Bombay!" and "Alice in the Cities"). But the perfection of the child actors, the tremendous care of the storytelling (director Gianni Amelio co-authored the screenplay), and the generous, ambulant scenery make this film a standout that has seldom been rivaled.

This movie is the story of a journey, a common theme among movie-makers. In this film a policeman is charged with the transfer of two children (aged 11 and 9)from Milano to a Home for Children in Sicily. It is based on a newspaper report which gives authenticity to the story. Remarkable performances are given by the children who amazingly have had no previous experience in film-acting. Eye contact between the main characters is particularly powerful. The policeman also acts convincingly. He finds the resentful children a difficult pair to control. The 11-year old has a secret(about her life of prostitution) and her young brother is an asthmatic sadly in need of his father who has abandoned them. There are some tender scenes in the film where the policeman introduces the children to his happy extended family, where the policeman gives the boy some swimming lessons in the sea and where they agree to find each other when the boy leaves the Home at 15 years of age. A simple theme but so enthralling.

This film is one that will be difficult to view. The basis of the film is that two children are taken away from their abusive mother. Lo Verso must escort them to an orphanage however the orphanage does not want the children. I won't spoil anything for you, but I will say that this type of film would never be made in the US. The themes that are suggested are extremely controversial.

I too agree with many people when they say that this is one of the best acting performances by children ever.