Il ritorno di Don Camillo

Another little gem to watch! Don Camillo returns to its cherished parish after a forced "séjour" in the mountain. The mayor is happy to see him back, cause he sees in him a formidable adversary. Yes Peppone and Don Camillo are adversary, but deep down inside, they need each other. Another look at life in a little post-WWII Italian village, where catholism and communism fight each other.

Out of 100, I give it 82. That's good for *** out of ****.

Seen at home, in Toronto, on September 10th, 2002.

"Le retour de Don Camillo es the second film of the saga Don Camillo-Peppone,it was directed by Julien Duvivier (1953) with the same actors ,Fernandel and Gino Cervi.As punishment because he has hit Peppone Don Camillo is sent to a mountain village, Montenara; it's snowing,the local church looks empty and Don Camillo feels sad and alone.He will go back secretly to look for his crucifix in Brescella and Peppone will helped him giving him a lift.Peppone has great trouble with a landlord, because the village needs to build a dam against the floods of the Po river and Peppone visit the archbishop to obtain the return of Don Camillo who can be able to convince the reluctant landlord. I enjoyed very this story about rivalry and friendship between the two strong men of Brescella.

At home we never tire of this, perhaps the best of the Don Camillo series. The characters are so perfectly drawn and the black and white photography is much more dramatic than colour! It gives a very true-to-life picture of the social and political scene in post-war Italy, with just enough exaggeration to have the spectators rolling in the aisles.

Very good episode, like all the others to be honest, but this one stands out for a deep and strong message, religious and not.

In the first part, the forced retreat of don Camillo is a very intense piece of cinema. His personal "via crucis" up to the mountain, his dialogue with God (the conscience's speech ?) teach to us the real value of a redemption. Camillo's exile, thank God will last little time (Peppone knows anything ?), full of energies to fight again. For the glorious bell Gertrude fallen by the belfry, the tragic Po's flood, a singular battle of the clocks, the barbaric life in the boarding-schools and the last fascists' ardors.

Everybody having at least 60 years in Italy remembers the big Po river's flood (my parents told me plenty about it) in early 50s. These kind of movies are able to maintain living the records of both happy and tragic events that marked our history through the following generations. An epoch desperately needful of a common identity (and then the politics!) but basically already related with the simple, daily things.

Fernandel and Gino Cervi couldn't be more terrific in their roles. Like Fernandel was a perfect don Camillo, Gino Cervi was either a perfect Peppone, or Maigret in the french TV-series taken by Simenon's novels. Two underrated actors that inaugurated a prolific age of Italy/France co-productions.

Fernandel and Gino Cervi return as the conservative priest and the Communist mayor of a small city, who bicker, bicker, bicker but love each other, as well as the other people of their town: the old doctor who refuses to die, the landowner who won't give up a small part of his land to produce a new dam, and of course, Camillio's good friend, G*d, who guides the priest with a love that surpasseth all understanding. Duvivier returns as director, with a script that continues directly from the first movie, and offers some insight into the character of a town where everyone knows everyone

At first glance it seems an odd movie for Duvivier, softer than his pre-war fare, and more openly religious. Yet there was always something godlike about the workings of fate in his poetic realism, and perhaps this is simply reflective of the evolution of his ideas, or a canny choice for an artist whose works need a very large audience.

Fernandel and Cervi would reprise their roles in three more movies over the next dozen years. Duvivier would move on to other projects.