Tre fratelli

Beautifully shot family tale with an excellent cast of top-notch actors is obviously meant, with its multi-level narrative, as fable for life and society in Italy.

THREE BROTHERS narrows with ease the gulf between two creative approaches in Italian cinema: the drama of social observation and the poetry of lyric force. That any film-maker would be able to look at the problems of a modern industrial society with the sensitivity of a poet or a painter is a wonder in itself. That director Francesco Rosi succeeds so eloquently is doubly wondrous. But then this is the gifted creator of CHRIST STOPPED AT EBOLI and ILLUSTRIOUS CORPSES. The three brothers have returned to their southern home village after the death of their mother. The film begins with the magnified sounds of heartbeats on the soundtrack against the bleak images of a huge building with dark, knocked-out windows. When the credits end we are shown a hideous cluster of rats in close-up. It is the disturbing nightmare we have shared with the middle of three brothers, a worker in a boys' reformatory in Naples. Frustrated by his battle to keep kids off drugs and away from crime, he is the self-giving liberal who is losing the fight. The younger brother is a Turin factory worker, embittered about his working conditions and victim of a failing marriage. The eldest son is a sedate magistrate in a Roman court who is handling a case involving terrorists and who constantly fears for his own life. He also looks upon his radicalized younger brother as a threat, one of the potential terrorists he is struggling against. The Puglia village to which the brothers return is an impoverished place from which they have long escaped and for which each professes a hopeless nostalgic attachment. Much of the movie delves into the varying anxieties of the brothers at a moment of intense introspection. Their aging patriarch father, on the other hand, is a man of great dignity, calm, and simple religious fervor, an emblem of what modern society has lost. He reflects a diminishing and changing past that can never be regained. It is a past that the old man's little granddaughter, with her childlike fascination for the little pleasures of country life, becomes fond of. There is bond between the two that is one of the most touching elements of this film. In a way she is a continuation of her own dead grandmother's attachment to the simple joys of life. The film says that while the sons have gained something in the amenities of urban civilization, they have lost something as well, something vital and profound. They have lost their home, their roots, their traditional values. They lie on children's cots now too small for them. They are overgrown children in cribs, and their uneasy reflections take on the bitterness of regret. They had departed from here for the best of reasons and once gone, as the youngest brother explains, they became immediately homesick. What is in THREE BROTHERS? Very little, if you count. There is a death, a brief return to a hometown, a few memories and flashbacks, some jarring evocations, a child playing, a burial, a beautiful final image. Indeed, nothing much happens. And yet it is as though everything happens. From its poetic tableau-like portrait of life, death, homesickness, there emerges a tapestry of modern society, perhaps even modern man in general, that is as violently graphic as it is lovingly gentle. It is a work of art.

I've always been very interested in Italy, its culture, its architecture, its cinema,... and that's why I will not let a chance go by to watch an Italian movie, because most of the time you'll see a fine combination of all these factors in it. So far I've already seen several Italian films, including some fine award winners like "La Meglio gioventù" and "La Stanza del figlio", and I can't remember that I've seen many that I really didn't like.

"Tre fratelli" tells the story of three brothers who return to the farmhouse in southern Italy where they grew up after the death of their mother. Except for their family ties, the three adult men don't really seem to have anything in common. Raffaele is a happily married judge in Rome who risks to be assassinated for a political case he hasn't even accepted yet, Rocco is a single social worker who works at a correctional institute for boys in Naples and Nicola is a radical factory worker from Turin who lives separated from his wife and who is involved in labor disputes and therefor risks to be fired. Together they have several discussions about the meaning of life, marriage terrorism, the mafia,... while their father grieves over the loss of his wife with his young granddaughter, who he also teaches something about life in the countryside.

Perhaps not everybody agrees with me, but this movie reminded me a lot of "La Meglio gioventù". And you can definitely see that as a compliment, because I really loved that movie a lot. This movie too showed how several family members, who don't seem to have much in common at first, make the best of their lives together, with the current social and political situation in Italy on the background. The main difference is that this movie only focuses on the 1980's, while the story of the other movie started in 1966 and ended in 2000.

Philippe Noiret, Michele Placido and Vittorio Mezzogiorno are very nice to watch as the brothers and Charles Vanel was very good as their father, but if I have to chose one actor who really surprised me, then it must be the young Marta Zoffoli. Despite her young age, she gave away a very fine performance and in my opinion she was the true star of the movie.

Overall this is a very nice drama that certainly should get a lot more attention than what it has received so far. When I see that it has only received 130 votes until now, I truly believe that this movie doesn't get the audience that it deserves. It has a good story and some very fine acting to offer, the decors are nice and thanks to Francesco Rosi, the director and co-writer of this movie, everything has been brought together into one solid movie. I give this movie at least a 7.5/10 and hope that many more will see it.

In a farmhouse in southern Italy, an old woman dies. Her husband summons their sons: from Rome, Raffaele, a judge facing a political case for which he risks assassination; from Naples, the religious and ideological Rocco, a counselor at a correctional institute for boys; from Turin, Nicola, a factory worker involved in labor disputes.

"Three Brothers" is based on a work by Soviet playwright Andrei Platonov and adapted by prolific screenwriter Tonino Guerra ("Blow-Up"). Assisting with the adaptation was director Francesco Rosi, who never seems to have quite achieved the world renown of other Italian directors, despite his highly-praised "The Mattei Affair". Joining Rosi at the helm is two-time Oscar-winning cinematographer Pasqualino DeSantis, who provides a higher quality look than your average Italian film.

As a writer myself, what is most striking about the film for me is the adaptation. The original story is set in Russia in the early 20th century, and the new story is set in Italy in the second half of the century. That may not seem like a big deal, but the particulars are certainly quite different. Soviet Russia is in no way the same culturally as Naples or Rome. And yet, the story is flawlessly ported over.

Arrow Video brings us an excellent Blu-ray. We have a brand new 2K restoration from original film materials. The key special feature is an archival audio interview with Francesco Rosi from 1987. Any scholar of Rosi will appreciate this conversation that runs over an hour. We also get a booklet featuring an essay by Millicent Marcus, a 1981 interview with Rosi and a selection of contemporary reviews. Unfortunately, there is no commentary, nor any interview with star Michele Placido, but this is still a fine release nonetheless for an otherwise neglected film.

In the seventies, Italian judges ran the risk of being murdered. (These days, they are liberally berated by Signore Berlusconi, which I suppose is a change for the better.) The conflicts that ran through Italian society at the time are vividly reflected in "Tre Fratelli". The plot briefly reunites three brothers of quite different ages at their mother's death-bed. The oldest is a judge fighting terrorism, the youngest an industrial union member fighting for better work conditions. The third has dedicated his life to teaching difficult boys, and pleads for peace when his brothers start airing their views at each other and bickering over the use of violence in politics.

All three are idealists with lots of ideas. Although Rosi is interested in these ideas to a degree which immature viewers may find taxing, he emphasizes the emptiness of ideas alone. At one point the judge gets to say: some of us want to become as rich as they can, some of us want to change everything, both sides want to do it ASAP, and both have a terrible contempt for human life. On a more private note, none of the brothers has an unequivocally happy marriage. The judge's wife fears he will be killed and is constantly pleading with him to refuse dangerous cases; the youngest brother leaves his temperamental wife when she has one affair to his dozens; the teacher fears the intimacy of a committed relationship, and has remained celibate.

The ancient widower, in harmony with the picturesque countryside he lives in, is a contrast to his sons' torments. Even his memories of his wife are as good as it gets. Each of the characters has a dream episode; his is the only one that is neither unhappy nor utopian. He tells his city-bred granddaughter about her grandmother, about animals and stars, and the two reach an understanding deeper than that of the "grown-ups". Is it only women who place survival above politics? Is it only the very young and the very old who are wise enough not to take human affairs too seriously?

"Happy the man, and happy he alone, he who can call the day his own; he who, secure within, can say: Tomorrow, do thy worst! For I have lived today."