O Ferroviário

What a wonderful film, not really a neo-realist, as I'm not too keen on them, this is more a melodrama but not sentimental and very realistic. I knew that a train driver was going to have a terrible accident and affect his family but this is so much more than this. The director, Pietro Germi also plays the part of the driver and although his family has it's problems he really loves his youngest son. The kid is played by Edoardo Nevola, only eight at the time but helped by Germi manages to have him revolve around this. There are so many amazing scenes with him, like the one with his older sister, and he is on his own and trying to work it out her being pregnant with her boyfriend, in the 50s and in Italy. So many brilliant scenes with the trains and great shots of the streets and people running around. There are also splendid shots of some bars and so many men inside and great bits singing with Germi at the centre with his guitar. Often his son will be there as he has been sent to bring him home but sometimes he stays on and enthusiastically sings as well. Later on we will see his guitar being dropped, at the very end.

I have been studying Italian on Duolingo for a year now and this evening I noticed this little movie - il ferroviere - and I thought to myself: hey, I know this word, it means 'the railroad man'. Needless to say I had absolutely no idea what I was getting into but once I started I couldn't quit.

The story takes place in a small town in Italy after the WWII; the small town part, I figured, is most likely true considering how frequently in the movie everyone's keep bumping into each other and know one another pretty well. Andrea, il padre of the family, is a railroad worker who is as eager to drink wine as he is to make a fuss out of anything but his heart has good intentions that's why it is so easy to empathize with him. Although he's got a wife and three kids he couldn't help feeling lost at times, lonely, frustrated and angry and he pours it out into the family and gets nothing but abandonment and sadness in return.

The narrative flows like a river in the plain, calm and peaceful, and black and white cinematography only adds more colors to the palette of the picture. I just love Italian language for its expressive nature where even a small question like "how are you?" or a toast "to the grapes" sounds like poetry. The whole movie feels more like a play of sorts where every character has their identities, background stories of their own, they're real people so much so that you start to feel the connection with all of them almost immediately.

One year passes in the movie and it seems so in your mind also - you see how much the characters have grown, what they've gone through and what they learned. You may not be a good father, a perfect husband or even a kind person but life teaches everyone all those things with time and in the end you'll be the happiest person alive if you've learned your lessons well.

Social melodrama, written, directed and performed by Pietro Germi, acclaimed in Italy, Cannes and San Sebastian.

A simple story that follows the life of a railroad worker in post-war Italy and his family.

Hostages of the joys and sorrows of everyday working life, the loves and dislikes of children, family tensions, health problems, alcoholism and other temptations that help to forget miseries, but also of the love that unites the couple and the children and the solidarity of the popular community.

A film with an undeniable poetic touch, which makes it a classic for many and where the excellent interpretations of Germi and the young Edoardo Nevola stand out, in the role of little Sandro, around which the whole story revolves.

The railroad engineer Andrea Marcocci (Pietro Germi) has been working with his partner and friend Gigi Liverani (Saro Urzì) for thirty years and feels happy and proud with his work, drinking wine after hours with his friends in a bar owned by the former railroad man Ugo. Andrea is married with Sara (Luisa Della Noce) and his young son Sandro (Edoardo Nevola) is very close to him; however Andrea has issues with his unemployed son Marcello (Renato Speziali) and with his pregnant daughter Giulia (Sylva Koscina), whose boy-friend Renato Borghi (Carlo Giuffrè) was forced to marry her. When a suicidal crosses the tracks of his train in a curve, Andrea feels deeply affected by the accident and almost collides with another train. The railroad company investigates the accident and steps Andrea down from his position. The domestic life of Andrea is also affected by his aggressive behavior and Marcello and Giulia leave home. Later Andrea also leaves home and starts to drink until the day Sandro visits his father in a bar.

"Il Ferroviere" is a human and realistic melodrama with a corny but beautiful conclusion. The drama is watched through the eyes of the clever Sandro that sometimes does not understand what is happening with his dearest family. The stereotype of the Italian people is explored with cries, separations, discussions and a reunion in a Christmas Day, and it is very easy for a Brazilian understand the situations since our people has similar behavior. The acting is top-notch, but the performance of the boy Edoardo Nevola is awesome. My vote is eight.

Title (Brazil): "O Ferroviário" ("The Railroad Man")

This likable and virtually unknown early film by the director of the acclaimed DIVORCE ITALIAN STYLE is a domestic drama replete with the essentials of the genre: emotional outbursts, separations, and final tearful reunions. A railroad engineer, husband and father, nearly goes to pieces after accidentally running down a suicide on the tracks and barely avoiding collision with another train. His domestic life is derailed as well. He has an older son who is a bum, an alienated and embittered daughter forced to marry her cad-like seducer. Only his wife and younger son, eloquently played by Edoardo Nevola, are any consolation to him. The film rises above the limitations of soap opera through the beauty of the characterizations and the quality of the performances. Pietro Germi, who directs and stars, is able to give us, through a highly detailed and virtuoso performance, something of the feel of frustration and fear (made worse by excessive drinking) which accompany sensitive fathers with the bulk of their lives already lived. There are some heart-wrenching dramatic moments, as when the small son tries to retrieve his drunken father from the wine tavern and those scenes which show the man's worker friends ostracizing him because he becomes a scab during a railroad strike. The movie bears some obvious resemblances to DeSica's BICYCLE THIEF, the gritty locales, the social commentary mixed in with personal drama, the poignant father-son bond that is the worker's eventual salvation. There are some excesses as well, particularly in the over-acting of Sylva Koscina as the man's daughter. Carlo Rustichelli's lovely musical score is an asset when not being overly cloying.