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Padre Pardone, the master piece of theTaviani brothers tells the story of the coming of age of a young illiterate shepherd who's confronted to the tyranny of his father and the inevitable rebellion that happens when the child becomes a man. This movie which tells the true story of the writer Gavino Ledda gives an universal vibe. The relation between father and son is based on love, authority and violence. More then just a family portrait, Padre Padrone is about society. Not just the modern italian society, but each society at each time. This story is about changes and conflict between generation and mentalities. The movie has some really powerful scene like the one when the fathers cry with his son in his arms. The score is composed mainly of sardinian musics, The sardinian score is heartbreaking, just like the movie is....

Vittorio and Paolo Taviani are surely one of the most important Italian directors ever and just like all the great masters they often have their not so brilliant movies, but "Padre Pardone" certainly belongs to the best they ever made. It's all based on a true story and sometimes people tend to forget that there are places that God forget. In an agricultural area in Sardinia some folks pretend it's better to take care of the sheeps rather than scoring well at school. The young Gavino (Fabrizio Forte) goes to his school but one day he's father comes in the classroom telling him that his schooldays are over and that it is time to take up his duty as shepherd. The brothers Taviani are masters in filming the useless factors of the job as we see a young boy who absolutely has no interest in the job he got by his father, and we see some explicit scenes in where the almighty father beat his children. Schoking that's for sure and if the Gavino grows older we see his hunger to learn something (the poor boy couldn't read) as soon as he must enter the world of the army which is in total contrast with the world of the hills where sheep run. The story itself is rather hard to bear and you often shake your head by disbelief but still the Taviani-brothers are opting for a sober and poetic approach of the problem that it looks like you're viewing some touristic documentary of an area that God forgot. "Padre pardone" is certainly the kind of movie that will have both its lovers and enemies but having said that, you know that "Padre Pardone" belongs to the classic section of the Italian cinema that will never be forgotten.

Despite the other good comments here, I was really shocked at the number of others who put in their two cents who hated this movie. I saw it in a theater shortly after its original release, then several times on video in the late eighties. I hadn't watched it again until a couple of nights ago, mainly as a reaction to seeing some of the imbecilic remarks here. It's scary because after seeing the film again I realize that Hollywood has alot to answer for in manufacturing twisted junkfood audience expectatations with their atrociously slick homogenization of already shallow stories, push button audience emotion manipulation... oh, well, you get the idea. People fed a constant diet of McDonalds don't recognize a good steak when they bite into one.

PADRE PADRONE integrates nearly documentary footage seamlessly with a very realistic, often funny, often poignant but never manipulative depiction of what it's like to grow up the first born son of a nearly impoverished Sardinian shepherd. The beatings the boy receives from his tyrannical father are convincingly shown but in such a way that, especially if you've ever been on a set or involved in filmmaking, you can see that the punches and slaps could be easily pulled without the audience knowing it. The boy's struggle as he grows into a man to express himself and learn how to read and write, no matter how fierce his father's opposition, is truly inspiring because it is so matter-of-fact, so intense but without a shred of the narrative tricks (such as treacly music cues) that Hollywood would pull to needlessly manipulate cheap audience emotion.

There's one scene right near the end just before the young man leaves home again for the final time where he has to go to retrieve the family suitcase from under his parents' bed. His angry, powerless dad sits on the edge as his son gropes under him for the suitcase. The two have already come to blows and life-threatening words. Suddenly the young man sinks his head against his father's leg in a brief second of weary contradictory affection. His father instinctively moves his hand to, at first, comfort the boy. But before his fingers can even touch his son's hair he is possessed by temper and raises his hand to strike him instead. However, we don't see if he strikes him or not because the Tavianis cut to black then we next see the son leaving town, going on to his destiny as a linguist and bestselling writer. This simple scene is one of the most unbearably moving in any film from the last thirty years and indicative of the general excellence of the entire movie. The Taviani brothers have made many other good films from ALLONSANFAN with Marcello Mastroianni, through this, through NIGHT OF SHOOTING STARS and the excellent, 3 hour long anthology of stories by Pirandello, KAOS.

The life of an Italian peasant who was forced out of school by his father so as to be a shepherd in the remote country side. The loneliness and the father's brutality has an effect on the boy who grows up to be a late learner in reading and writing. This new knowledge he uses as a weapon against the everlasting battle with his tyrant father. The first half drags on but the second half all comes together.

It is a rarer case that a film changes one's life, at least for a while. 'Padre Padrone' did it to me. The film made such an impression to me that first I read the book. Therefrom I got the details about the author's home village Siligo and its environment. As a child I was used to spend my holidays with mountain farmers, helping them here and there, thus I was familiar with rural and agricultural life.

At the time I saw 'Padre Padrone', I was 20 years old, was used to do bicycle trips in my home country, but had never gone abroad. Sardinia was only one day by railways and one night by ship away, so I decided to go there.

The first original place I came to was Sassari, where the author got his higher education and was also a professor. Some roaming through the hills brought me to his little village, Siligo. At the entrance, I noted an older man steering a cart pulled by a mule. This was not ordinary, because all other peasants used small and cheap motor-operated vehicles. Ledda's father being described as tenacious and closefisted, it is quite probable that the observed was him. But I didn't dare to ask him.

Up from the village, I pedaled through family Ledda's pasture called Baddevrústana, where I noticed again a being standing on a trail: another mule.

(1977) Padre Padrone (In Italian with English subtitles) AUTO BIOGRAPHICAL

Adapted from the book by Gavino Ledda written and directed by Paolo Taviani and Vittorio Taviani that has a father (Omero Antonutti) pulling his very young son, Gavino (Fabrizio Forte) out of class to get him to work as his sheepherder. He does though promises his son a proper education by the time he reaches the age of twenty years. As we see Gavino as a little boy with strict orders to the time the movie jumps to as soon as he turns twenty years old, Saverio Marconi how he obtained his first musical instrument, which is an accordion. And of course, when Gavino's father promised him an education, he only able to learn how read and write through the correspondence once he was enlisted in the military.

That although the father had other siblings, why is he the most hard on him when there are others who can work on the farming and the gardening as well. It states the father's abuses as well as his ways but without any explanation or clarity about his reasons why he does the things that he does which raises more questions than it answers, and instead expect viewers to accept the way it was.

At the opening of the movie, viewers see an adult man carving the twigs out of a thin tree limb before he hands it to the father who was pulling his son out of class at a very young age. At the time I didn't think much of it up until the very end where he is shown again and this time he tells viewers he is Gavino Ledda and is 35 years old. That the young man I saw at the opening is what "Gavino Ledda" looked like now the current time the movie was made back in 1977.

It was also interesting how, the we be able to hear what some of the characters are thinking and not just it's two main characters of Gavino and his father.

Seeing this film, reminded me of the typical situation of living outside the cities and in the fields.

Gavino Ledda, lived a difficult life, which, the worst part, I think, was being isolated and with no contact from the outside of his sardinian life.

I've seen that this movie is a polemic one towards being a good film or being a piece of trash, I'd go with the first one. I think that is a good film, making an adaptation of a book is always difficult, and the taviani brothers, did it succesfuly, ok, it is not a masterpiece either. but it's not a bad film, it applies the best it could to the low-budget they had. The Feat comes with the fact that it won the Palm D'Or in Cannes in 1977, and sometimes you might expect a piece of art, comparing it to the 'Tree of Wooden Clogs' that won the next Palm D'Or in 1978, Padre Padrone stands weak, but still I think it's a good movie, I own it, and sometimes watch again to take on some technichal details. If you have the chance see it, I can assure you that even if you don't like it, you won't consider it such a waste of time.

The true story of the life of Gavino Ledda, the son of a Sardinian shepherd, and how he managed to escape his harsh, almost barbaric existence by slowly educating himself, despite violent opposition from his brutal father.

Janet Maslin praised the film and wrote, "Padre Padrone is stirringly affirmative. It's also a bit simple: The patriarchal behavior of Gavino's father is so readily accepted as an unfathomable given constant that the film never offers much insight into the man or the culture that fostered him. Intriguingly aberrant behavior is chalked up to tradition, and thus robbed of some of its ferocity. But the film is vivid and very moving, coarse but seldom blunt, and filled with raw landscapes that underscore the naturalness and inevitability of the father-son rituals it depicts." Maslin may not be all too familiar with the tradition. If she was, she would appreciate why it needs no explanation. I don't know Sardinia specifically, but I know Sicily, and this behavior would just be expected. There is no deeper psychology behind it. What makes this film interesting is not that a young man overcomes his father (many do that), but that he became a Sardinian linguist... because seriously, who does that? I was not even aware they had their own language.

This Italian drama chronicles the real life story Gavino Ledda, son of a herdsman, who is forced to leave the elementary school to work as his father's sheepherder and endure all the hardship to his endeavor to get education at the later ages and publish his autobiography.

Genuine is what I call this piece of film-making in the category of world cinema. Very beautifully it narrates the story of a kid raised in brutality of poverty enduring the tyranny of his father. Aside inspiring, the film opens a mesmerizing landscape to behold and forget your stress throughout. The experience is like getting immersed in a fine novel with interpretation and imagination left for the readers. Overall it's a superb piece of film-making you should experience if you are to appreciate the fine works world cinema has to offer.

Rating: 3 stars out of 4.

Some of the complaints may due to a poor tape transfer. It looked quite nice as a movie. However, being about poor people, don't expect gorgeous costumes.

Since the film is honest and somewhat brutal in its depiction of peasant life, it is not for the weak of stomach or for children.

It moves at a somewhat leisurely pace and some of the filmic conventions are overdone (the talking sheep and the swelling music in particular).

This move was pure agony to watch and totally devoid of any redeeming entertainment value at all. The endless scenes of extreme child abuse, masturbation and bestiality made this an experience that will scare me for life. A root canal would be preferable entertainment. Anyone who enjoys this movie has to be sick.

My expectation was a story about a boy overcoming child abuse to become a successful writer. Only about 10 minutes is spent on the `overcoming' with the rest of the time obsessed on the agony. This could have been a great movie if it focused on the metamorphosis of an abused, illiterate Shepard into a literate professor and writer.

My personal regret is that I fell for the `Cannes Golden Palm' label again. `Art is in the eye of the beholder' and this beholder sees very little artistic value in this movie. This movie had awful sound, poor cinematography, bad set decoration and horrible musical score. It is hard to imagine this movie being better than some of the other movies of this year like Star Wars, Close Encounters of the Third Kind, Equus, The Goodbye Girl and Annie Hall. Cannes went way out of the way to avoid a good movie for their award. My observation is that Cannes is a bunch of snobs who never give anything to any movie that can be remotely called entertaining.

This is the true story of Gavino Ledda,a Sardinian shepherd,who though illiterate until he was twenty,is now a doctor in glottology.His father takes Gavino out of school when the boy is six year old;he has no choice:education is a privilege of rich people and Gavino has to be shepherd.Taken out of school,he spends most of his adolescene up the mountains looking after his father's sheep and living an isolated life.Gavino tries to leave from Sardegna,but the father does not give him the written consent that he needs.In the meantime the father sells the cattle,sends his daughter to be servant,and his sons to work.Later,it suits his father to have Gavino join the army and learn a trade;so he becomes also the teacher of Gavino in order to make him get the diploma of elementary school and thus be sent as a volunteer to the army.While in the army,after some years Gavino gets the diploma from the high school and decides that he wants to go on to university.He returns home,when his father once more makes him a shepherd,but Gavino is determined to return to the mainland...Based on the autobiographical novel by Ledda,PADRE PADRONE brought Taviani Brothers the international fame.

"The irreconcilable chasm between a curious and intelligent son and his mulish and jerkwater-minded father comes to a head in the climax, and their final showdown is visualized in distinct constraint and asperity, its physical tension and emotional strain is almost unbearable. Throughout the entire film, it becomes a knee-jerking reaction for a father to hit his insubordinate son, also results in one of the lasting images from PADRE PADRONE, with Gavino resting his head on Efisio's knees, and the latter's hand raising up aloft.

Taviani brothers's film earns its import for being a fervid advocate of the then unorthodox rejection of patriarchy and paternalism, the land of Sardinia is poetically and lyrically limned with a superb pastoral pastel. Both Antonutti and Marconi are fine performers, the former actually evokes a remarkable impression of Efisio's interiority out of his rough-hewn designation. Only Marcella Michelangeli's role as the matriarch is silenced and relegated to the sideline, it is rather odd she doesn't try to mediate between the two men like any Italian mother will. "

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Already in the beginning the viewers are told that this is the story of a linguist who wrote a book. The story starts, then, with a father, a shepherd, as he takes his little son out of the classroom to the mountains to help guard the area and the flocks of sheep. When other boys laugh, the father tells them their day will come too, and it does. In the poor Sardinia, the life of boys is that of men. If they rebel or fail, their fathers exercise violence against them. A Poor kid's comfort: the father promises Gavino that when he'd be 20, he'd be free to go to elementary school. Humor and something of a naive charm are sparkled along the film, but the roughness of this life comes through and through. Eventually, the time for elementary school arrives, and Gavino takes full advantage of it. Still, you stay in doubt if he will ever be really free from the spirit and the mentality of his father.

Based on the true story of author Gavino Ledda, we follow his life growing up on a Sicilian farm where he is subjected to the brutal realism of his father. It all begins when he is taken out of school at a very young age because dad (Omero Antonutti) needs him to tend the sheep and keep them safe from snakes, wolves and bandits! He's barely two foot tall at this stage. This is the template for much of the rest of his childhood as his education is sacrificed to keep them fed and housed. Reaching his adulthood he finds himself manoeuvred into joining the military by his father - a responsibility that rather backfires on the older man as Gavino (now Saverio Marconi) proves not only that he is quite capable of learning - not just the basics of reading and arithmetic, but of understanding the complexities of electrical engineering and radio operation. He decides to return to Sicily after his time in the army, but much more on his own terms and to study at university. Naturally, his disappointed father has other ideas - but can these two men reconcile and Gavino learn to (or want to) forgive his father? Initially, it's really quite easy to loathe the paternal character. Save for one tiny semblance of affection (after a beating) he shows no emotional connection to his son at all. As the film progresses though, it becomes slightly easier to understand that this man comes from a long line of people with little hope, living an hand-to-mouth existence with no education and little belief in opportunity. Is it despite him or partly because of him that Gavino has such an independent spirit? Marconi delivers strongly here and both he and Antonutti sustain the degree of familial tension as both realise that change is inevitable. Change and ageing. I like the indefinite nature of the conclusion - it's all a work in process and one I found quite compelling to watch.

First, I should admit that until now I had never seen any movie by the Taviani brothers or heard of Gavino Ledda. This made "Padre padrone" even more of a treat. There's a stark contrast in the harshness inflicted by Ledda's father (who expects the boy to continue the family tradition) and Ledda's goal. As a person who takes an interest in foreign languages, I enjoyed hearing Sardinian spoken; I like hearing languages that we don't often get to hear.

Overall, this could be a double-viewing with "The Great Santini" or "This Boy's Life" (maybe a triple-viewing with all three). It's a wonder some people made it out of their childhoods without remaining completely damaged. All in all, a fine piece of work.

Padre Padrone was a film that shocked RTP viewers in the late 1970s, mostly for the visceral way in which it exposed the rude habits of shepherds in the Sardinian highlands, especially in sexual practices with animals.

This film by the Taviani brothers, along with others, such as Ugly, Dirty and Bad, by Scola, are part of the end of Italian neo-realism, that I cannot resist calling hyper-realism, in the sense that it is no longer enough to show the harshness of In reality, we need to look for the most unworthy and grotesque aspects of human condition, in this case the violence, isolation and bestiality of small Sardinian pastoral communities.

Other films had already look at this communities, perhaps even better, such as Bandits of Orgosolo, by Vittorio de Seta, in 1961, emphasizing, in this case, "omerta", the law of silence, distrust, ignorance and extreme attachment to the land, the main source of wealth and power, in these extremely closed rural societies.

I would say that Padre Padrone doesn't add much to Banditi à Orgosolo, other than a certain voyeurism through violence and ignorance.

It's a remarkable film, but I clearly prefer de Seta's Bandits.

It is not easy to watch, sometimes the pace is not the best, but is is deffinetely a very strong film, that impacts and does not follow conventional formulae. Indeed, Taviani brothers explore camera movements and innovative sounds to reach a greater level of emotional impact in spectator. The life story presented is less simply the story of an individual and more a figurative portrayal of a generation, of a specific type of community. The harsh life in Sardinian countryside is presented in beautiful cinematography, making clear that, there, living means working hard and nothing more. The contast of the traditional and patriarchal rural lifestyle with the improved educational opportunities for young Italians is traduced by the father's abuses and the hatred all the boys felt for their village, aiming a new life whichever it werr. The chat under the saint image is a brilliant metaphor. The relation with animals is, as expected, quite brutal and often cruel, and it is shown in a realistic and not softened way. Sexuality is an enigma: the masturbation with animals is there, but despite their age of sexual self dicoveries and lively hormones, no interest in girls (or boys) apprear. As it is an autobiographical work (despite being appliable to most young men from his social-demographic group and background), perhaps, while wanting to show the abusive relationship his father maintained with him, writer preferred to hidden sexuality, which may be uncomfortable for him (hypothesis which is strengthened by the physical contact he used to have with male friends). Catholic religion crosses through the whole movie as in any film which deals seriously with Italian culture. To resume, Padre Padrone may not be your favorite movie, but it will be a cinematic experience worth having.

One of the 100 film italiani da salvare, Padre padrone is quite different than any other movie that I have watched in its gentle brutality. Free of unnecessary exploitation and never quite becoming horror, child abuse and animal cruelty are quietly interspersed with magical scenes of swaying Sardinian oak trees and softly bleating herds of sheep in an idyllic rural landscape.

Young Gavino as portrayed in the film is based upon a real man who remained illiterate until his late teens, yet by his 30s was so well-educated that he wrote Padre padrone as his masterwork: an autobiographical novel.

This is a film that just has to be experienced.

This film made in the late seventies in Italy describes a rural family in the island of Sardinia. One year later, another film on agrarian society, "L'albero degli Zoccoli", also made in Italy, was a smashing success. The success among the italian audiences was attributed to a nostalgic remembrance of agrarian societies and lifestyle, also seen in Bertolucci's "1900". This film had a profound effect in many third-world countries. People from Turkey and from Madascar that came from rural patriarcal families whose economy was based on sheep farming saw this movie as their life manifesto. The struggles of the young son as he grows in his father's sheep farm are depicted in Taviani's style of symbolism. Notable is the army buddy that is a medical school graduate played by Nanni Moretti, who eventually became one of Italy's current leading film directors. See this movie with "Banditi a Orgosolo" (1960) if you can find it.

"Padre Padrone" (Italian, 1977): Directed by Paolo and Vittoria Taviani. A Sardinian boy grows up under the crude and violent shadow of his sheepherder father. Family life is a combination of mind-numbing boredom and crackling moments of fear. The years pass, and almost by accident, the boy (now a man of 20) becomes involved in the larger world. Here begins his struggle to break away from the tyranny of "Father/Master", and make use all that awaits him… but the teachings of his father are NOT that easily left behind. It's an interesting psychological story shown in typical Italian 70's fashion – low production values, lots of overdubbing, and only a slight interest in creating an artful shot (no, most Italian films are NOT Fellini or Antonioni). However, THIS one is worth following. The payoff IS in the story and its message. It's a strong film that reminded me of "Pelle the Conqueror". And a second night of pondering: "Padre Padrone" ("Father Master") is a truly unique look at the relationship between fathers and sons. It's not a pastel image, that's for sure, but it raises some very interesting questions that I think most sons will recognize at some deep, unspoken level. As is always the case with a smart work of Art, the visual level is but the entryway to a broader topic which allows more viewers to relate. No, WE'RE NOT Sardinian, sheep herders, uneducated, or dirt floor poor. No, our fathers probably did not behave exactly as this father did...yet nearly every one of us can sense that the feelings we held towards our fathers (as boys) are somehow addressed in this film. He held the power. To get "out from under" his looming protections and threats, we had to leave. There was no other way to break free of the family dynamic. Upon return, for a visit or temporary living circumstance, we found he had not changed - no one in the family had changed - and the certainty we had that WE had changed while away, was only a facade days away from cracking or collapsing. What did we do? We left again, returned, left, visited, avoided, watched, and waited for "things" to change to SUCH a degree, we could now all settle into a new set of roles.

I saw this movie more than 20 years ago, but I have never forgotten it. There is no need for me to repeat what others have said about the plot. Let me just say that the film's use of natural sound is astounding. An illiterate boy is isolated from other people, so he develops a unique understanding of the world's noises. I appreciated the film's critique of paternalism, but even more, I was profoundly moved by the story of a peasant boy who manages to overcome his isolation and fear of his father and learn to read and then to study linguistics.

I am going to buy a copy of this movie for my grandson who is studying film at a university. Despite the fact that he is a young and urban American, I think he will appreciate the humor, the innovative techniques and the themes of this remarkable film.