Cronaca familiare

Never heard of this film until 3/20 at 2 am..Thanks to TCM.. & Ive been a fan of Mastroianni & Italian cinema for decades... this is a real beauty..another hidden treasure.. really wanted to sleep (Im an insomniac) but couldnt It was magnificent..Mastroianni was one of the grreatest actors ever on Cinema.. & this film is special..same year as Divorce Italian Style & a year prior to 8 1/2...this film was hidden dont recall it being released in US theatres & was going to see his movies at that time..Mastroianni is magnificent, & as his younger brother, Jacques Perrin is outstanding as is the entire..(unknown to me ,cast) can't wait to see again..Must mention the photography.. filmed like beautiful Italian paintings subtle earth tones, realistic, soft yet striking..each frame is a work of art..Bravo..can't wait to see again & again

This is a film so great that to attempt to describe it nearly forces one into poetry. The visual flow alone is like a walk through all the great art galleries of the Western world, and the camera pauses on many of those scenes to permit us to admire and study the surprising compositions and tonal pallets. The story is viewed oddly in the third person - I felt somewhat like an astronomer viewing the short-lived movement of a group of comets through the coldness of space and time - helplessly seeking meaning and comfort through love, but doomed to end meaningless and forgotten - following some brutish laws of physics whose study seems a shrewd exercise in futility.

The scope of action is exceedingly restricted - perhaps more microscopic than telescopic - in the end, it's all the same: universal and intimate, cold and loving, helpless, with an odd image of Joseph's multi-colored coat haunting the mind - yet another symbolic object long rotted into the dust as must all symbols.

This is the work of people who have a very mature, objective understanding of life and who, without romanticizing or distorting or euphemizing, have created something both true and extraordinarily beautiful.

This is one of the most moving films ever made. The atmosphere, the settings, the use of colour and the superb mastery of Zurlini's hand make Mastroianni and Perrin reach unthought-of characterisations of the two unhappy brothers. This is not a movie for all audiences. Its own qualities make it selective in itself. All the misery, sorrow, suffering and delicacy of the feelings that pervade the life of the two characters are brought to life with a sort of detachment and (paradoxically as it may seem) intimacy seldom seen in the screen. Absolutely a must. When will this masterpiece be available on DVD ?

Phew! What a beautiful film! I'd rank this as one of the most awe-inspiringly composed and photographed color films of all time. You've never seen Mastroianni, until you've seen him in this film, walking around like an iconic black ghost in the darkly hued existentialist-to-the-nth-degree technicolor universe of post-war Italy created by Zurlini and legendary DP Giussepe Rottuno. What a stroke of genius to contrast the bleakest and most depressing of subjects possible with the most fantastically poetic and gorgeous technicolor cinematography this side of `Black Narcissus.' This is one of Rottuno's finest works ever: full of absolutely breathtaking deeper than deep blacks and colors that seem to have sprouted from some otherworldly weathered, neo-realist hallucination. And what timeless subtly paced, unerringly poetic, intelligent and completely uncompromising direction by Zurlini, the forgotten genius of Italian cinema, whose style in this film can be roughly described as a unique melange of neo-realism, Antonioni, Michael Powell, Jacques Becker, early Pasolini and early Bertolucci. It's easy to imagine how easily this story of a tubercular writer grieving the death of his younger brother through a series of flashbacks could've turned into not much more than a melodramatic tearjerker; yet in Zurlini's hands and through the incredible, tour-de-force performance of Marcello Mastroiani in the lead role, the Marxist-proleteriat-plight-of-the-poor sentimentality at the film's core transcends itself and becomes a deeply affecting, painful and ultimately cathartic meditation on death, despair, and the possibilities of redemption in the direst of circumstances.

In war-ravaged Italy, tubercular journalist Marcello Mastroianni (as Enrico) learns little brother Jacques Perrin (as Lorenzo) has passed… In flashback, we learn the brothers were separated upon the death of their mother, and led different lives. They are reunited as estranged adults, grow to love each other as brothers, and are again separated by death. The co-starring lead actors give it all the believability they can muster - which, when you have Mastroianni and Perrin acting, is considerable - but, there is a noticeable age difference, they never look deathly ill, and are each distractingly handsome. As a result, they often seem more like lovers than brothers. Shameless as ever, Sylvie (as Grandmother) claims it's "easy to see" that they are brothers. Well, okay. Director Valerio Zurlini and cameraman Giuseppe Rotunno make this English-retitled "Family Diary" look amazingly beautiful - herein, a old radiator against a stark wall is a work of art. They, and the haunting performances, do make it worth watching.

******* Cronaca familiare (9/62) Valerio Zurlini ~ Marcello Mastroianni, Jacques Perrin, Sylvie, Salvo Randone