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Così ridevano

  • 1998
  • 2 घं 4 मि
IMDb रेटिंग
6.8/10
866
आपकी रेटिंग
Così ridevano (1998)
ड्रामा

अपनी भाषा में प्लॉट जोड़ेंTurin at the end of the fifties: two brothers have emigrated there from Sicily and the older works very hard to let the younger study and free himself from poverty through culture. The boy h... सभी पढ़ेंTurin at the end of the fifties: two brothers have emigrated there from Sicily and the older works very hard to let the younger study and free himself from poverty through culture. The boy however is not keen on school and would like to begin to work. When after some time he gets... सभी पढ़ेंTurin at the end of the fifties: two brothers have emigrated there from Sicily and the older works very hard to let the younger study and free himself from poverty through culture. The boy however is not keen on school and would like to begin to work. When after some time he gets his degree however things take a violent and dramatic turn......

  • निर्देशक
    • Gianni Amelio
  • लेखक
    • Gianni Amelio
    • Alberto Taraglio
    • Laura Pariani
  • स्टार
    • Francesco Giuffrida
    • Enrico Lo Verso
    • Fabrizio Gifuni
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    6.8/10
    866
    आपकी रेटिंग
    • निर्देशक
      • Gianni Amelio
    • लेखक
      • Gianni Amelio
      • Alberto Taraglio
      • Laura Pariani
    • स्टार
      • Francesco Giuffrida
      • Enrico Lo Verso
      • Fabrizio Gifuni
    • 20यूज़र समीक्षाएं
    • 22आलोचक समीक्षाएं
    • 68मेटास्कोर
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • 9 जीत और कुल 14 नामांकन

    फ़ोटो12

    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    + 6
    पोस्टर देखें

    टॉप कलाकार60

    बदलाव करें
    Francesco Giuffrida
    • Pietro
    Enrico Lo Verso
    Enrico Lo Verso
    • Giovanni
    Fabrizio Gifuni
    Fabrizio Gifuni
    • Pelaia
    Calogero Caruana
    • Amico di Giovanni
    Roberto Marzo
    • Amico di Giovanni
    Davide Negro
    • Amico di Giovanni
    Giorgio Pittau
    • Amico di Giovanni
    Pasqualino Vona
    • Amico di Giovanni
    Giuseppe Zarbano
    • Amico di Giovanni
    Giuliano Spadaro
    • Padre della famiglia foggiana
    Patrizia Marino
    • Madre foggiana
    Giuseppe Sangari
    • Figlio
    Francesca Monchiero
    • Figlia
    Giorgia Scuderi
    • Assuntina
    Salvatore Refano
    • Il vecchio siciliano
    Maria Torranova
    • La zia
    Antonino Trigilia
    • Lo zio
    Michele Trigilia
    • Il cugino
    • निर्देशक
      • Gianni Amelio
    • लेखक
      • Gianni Amelio
      • Alberto Taraglio
      • Laura Pariani
    • सभी कास्ट और क्रू
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    उपयोगकर्ता समीक्षाएं20

    6.8866
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    फ़ीचर्ड समीक्षाएं

    10jsmith1480

    A Brother's Debt

    Set in late '50's, early '60's. Brave emigrants from impoverished Sicily make their way in industrial Turin. This movie gives you time with a good-hearted Catanese, Giovanni (Enrico Lo Verso), a man who loves desperately, adoringly. The object: his teenaged brother Pietro (Francesco Giuffrida) who is urbane while Giovanni is elemental.

    Giovanni's love and personal honor require that he believe no ill about Pietro. The older brother works like an ox to shield his Pietro-on-a-pedestal from the harsh world of manual labor, to give him better lodgings than he himself enjoys and to keep him in school (where Pietro actually is an inveterate hookey-player and a bored, listless daydreamer).

    Though Pietro is detached he nevertheless feels guilt for his deceptions and he loves Giovanni for his sacrifice and natural goodness. ("Giovanni is far too good," he says to the whore-waif his older brother has taken under his protection. "He loves everybody").

    But while the facile and literate Pietro drifts, the illiterate but intelligent Giovanni makes useful friends, exploits opportunities and rises in life.

    Always Pietro remains at the center of Giovanni's heart. And one night Pietro is given the opportunity, finally, to repay Giovanni's selfless devotion.

    If there is a "revelation" in this film, it is near the end when we see that the adoring Giovanni has an unexamined, unquestioned faith that his Pietro has the same devotion to him. As a given, he believes that brotherly sacrifice is a two-way street. The immense decision that his younger brother has made against himself and for Giovanni is merely the kind of thing brothers do for eachother. In a horrifying moment Giovanni opens to us: his great love is unselfconsciously, blanketingly possessive, devouring.

    Palermo-born Lo Verso is a great actor. That his beautiful, movingly expressive face is not world-famous is a misfortune. But he is only forty now (early thirties in "Cosi Ridivano"). There is time. Jim Smith-----------------------
    6lasttimeisaw

    an undeserving Golden Lion winner for Amelio

    A tower of strength in the contemporary Italian terrain, Gianni Amelio's Venice Golden Lion winner THE WAY WE LAUGHED (my second entry after TKEY KEYS TO THE HOUSE 2004, 7/10), his sixth feature, is an emotion-charged story at the end of 50s, Giovanni (Lo Verso), an illiterate Sicilian young man, arrives in Torin to reunite with his young brother Pietro (Giuffrida), who is studying in high school.

    Captioned the chapters by years and key words, the film infallibly circles around the two brothers, about their incompatible interrelation, which can be approximately summed up as follows, Giovanni unyieldingly insists that Pietro should finish his study and become a teacher, to fulfil a dream he is unable to pursue, as if this means the whole world to him, while Pietro, under such pressure to excel in the class, has to live in the fear that he might fail to live up to his dear brother's expectation, which establishes a deep discord between them. Life rarely goes according to one's wishful blueprint, however Amelio's meticulous endeavour, sometimes perilously close to mushy and over-indulgent, is to testify that blood is thicker than water, no matter what, even you have to murder a person, there is a silver lining awaits you.

    Attentively restoring a retro setting of a period ripe with absolute poverty and blatant opportunism, Amelio opts for an alternative to green-light the success of the uneducated- but-determined money-grabber other than the younger-but-intellectual generation, eventually it is the latter's voluntary sacrifice saves the former from going down to the prison, so that the former can secure his hectoring business and start a genuine Italian family, with a sincere guilt compelling him to make up for the latter, but in the coda, after a heavy-handed device to sabotage a formal farewell ceremony, it leaves us wonder, how the two brothers have changed internally during the time-span, the same four-elephants-in-a- fiat joke caps the film, yet, they have become more distant from each other both physically and mentally.

    Enrico Lo Verso, the leading actor of Amelio's more well-received works (THE STOLEN CHILDREN 1992 and LAMERICA 1994), greatly elicits Giovanni's devoted affection towards his beloved brother, addresses the most cringe-worthy dialogue (in Sicilian dialect, sounds like an utterly different language from Italian) with unaffected candour. Giuffrida, the young actor, was only 17 during the filming, is a few notches below by comparison, his Pietro is less sympathetic and his emotional spectrum is more intangible to pin down.

    Many a time, the chapter-to-chapter cohesion fails to be fluent, viewers are prone to feel disconnected and confused about the happenings, for example, Giovanni's intentional tantrum in Pietro's school is introduced abruptly since Amelio coyly refuses to lay bare what has happened to Pietro, similarly, from his disappearance to a miraculous triumph aided by a private teacher, Pietro's transformation is bluntly conjured up without any weight. For what it's worth, THE WAY WE LAUGHED feels a tad undeserving of its garland, nostalgic, mawkish and a run-of-the-mill drama falls flat on its face.
    7museumofdave

    Lugubrious Tale of Two Brothers Illuminates But At A Glacial Pace

    What a strange film! An immersion into a worker's life in Turin, and more particularly contrasting the lives to two brothers, the older, less educated, devoted obsessively to the idea that his younger sibling is going to excel, and the audience seldom clear about what the strange, younger lad is up to.

    The Way We Laughed is loaded with exciting Italian locales, flirts briefly with political movements, but the focus is always on what's going to happen to the relationship of these very different men. In no way a cheerer-upper, and not exciting in any conventional way, the performances are superb and the narrative compellingly mysterious if the viewer has the patience for scenes that attempt to accurately capture the process of decision making, to the way relationships often work.
    Peegee-3

    A work of art that packs an emotional wallop

    This is to me the finest foreign language film to appear on American shores in many a moon. Gianni Amelio as well as the two splendid actors, Enrico Lo Verso and Francesco Giuffrida are to be congratulated for giving us this amazingly moving film about the human and fallible relationship between two brothers...a relationship laced with unabashed love (yet never sentimentally portrayed) that brings a feeling that these are two sides of one person...The older brother is intelligent, but illiterate and therefore enamored of education (a scene in which he hugs his brother's books through the streets of Turin without a word of dialogue makes a fully felt experience). His sacrifices to further his young brother's studies is brilliantly off-set by the ironic disdain that the 16 year old demonstrates...until he later comes to realize the value of his intellectual capacity.

    The non-linear structure...set on six separate days, from 1958 to 1964...is completely in keeping with the curvilinear unfolding of the events and emotional reactions throughout this splendid film.

    It's powerful ending achieves the exact right tone. I only wish that awful music that accompanies the closing credits didn't nearly jar my sensibilities out of the rich rewards of the movie.
    7donqt

    the way families are

    The Way We Laughed works best as a study of familial obligation. The assumptions that "Blood" result in, the mendacity that can occur only within the structure of brotherly (sisterly/fatherly, etc.) expectation, and the assumption (or non-assumption) of responsibilities that either lie in the character, or despite the character. There's some good stuff about class urban/mainland prejudice included in the film, and some comments about the nature of intelligence. All told via a narrative structure that I find particularly pleasing. By skipping from year to year, we see growth and change, but there's a certain amount of work that we need to do to fill in the intervening spaces. This film makes that work worth it, although near the end I found myself wondering how long it would go on.

    इस तरह के और

    Il ladro di bambini
    7.6
    Il ladro di bambini
    Lamerica
    7.4
    Lamerica
    Yi ge dou bu neng shao
    7.7
    Yi ge dou bu neng shao
    Come September
    6.9
    Come September
    La ragazza del lago
    6.5
    La ragazza del lago
    Tre piani
    6.4
    Tre piani
    Le chiavi di casa
    7.1
    Le chiavi di casa
    Porte aperte
    7.1
    Porte aperte
    Lisbon Story
    7.1
    Lisbon Story
    Tuya de hun shi
    7.2
    Tuya de hun shi
    Angel Face
    7.2
    Angel Face
    The Dead
    7.2
    The Dead

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      The title refers to the back page of a popular 1950s Italian magazine which had a section devoted to old jokes that were no longer funny but still evoked a sense of nostalgia. One such joke is repeated throughout the film: "How do you get four elephants in a Fiat?" The answer: "Two in front and two in back".
    • भाव

      Giovanni: You think your children are your own, then they learn to walk and they leave you. Know what they say back home? "Raise hogs, 'cause then you can eat them"

    • कनेक्शन
      Referenced in Cannes Paradise (1999)
    • साउंडट्रैक
      Cucara cha cha cha
      Written by Tony Vargas and Pepe Villa

      Performed by Dámaso Pérez Prado

      Courtesy of Peer International Corp./Edizioni Peersongs Italy Srl

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 2 अक्टूबर 1998 (इटली)
    • कंट्री ऑफ़ ओरिजिन
      • इटली
    • भाषाएं
      • इतालवी
      • फ्रेंच
      • लैटिन
    • इस रूप में भी जाना जाता है
      • The Way We Laughed
    • फ़िल्माने की जगहें
      • ट्यूरिन, पीडमोंट, इटली
    • उत्पादन कंपनियां
      • Cecchi Gori Group Tiger Cinematografica
      • Presidenza del Consiglio del Ministri-Dipartimento dello Spettacolo
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    बॉक्स ऑफ़िस

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      • 2.35 : 1

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