Os Noivos

This is elegant sixties modernism with a subtle socialist thrust. With a bit too much technique, concentration on beautiful, striking shots and fragmented narration studded with flashbacks, the story and characters, though interesting, don't have quite enough weight to involve the viewer. The modernist love of the cryptic goes a little overboard, though in an intriguing way, as for example in the long opening sequence in a dance hall as people gather for the dance and you take a while to figure out what's going on. The man takes a career opportunity to move up from welding by going to work at a distant, isolated plant. The plant and its environs represent industrial capitalism and the city overspreading the countryside. Arresting moments, like the dog straying into the church, or the young boy working very fast in the restaurant, as well as the individuality of a variety of people glimpsed in passing, give the movie a mysterious and moving charm. Yet telling so much of the story without dialog weakens our sense of the characters. It draws you in slowly but a bit too much is withheld. Il Posto stays closer to the characters and feels warmer, though the ending of Fidanzati has magic.

My first exposure to an Ermanno Olmi film was through 'Il Posto' and I thought that film was a small masterpiece. So clearly I was going to explore more of his films. Being the second Olmi film that I have ever watched, all 'I Fidanzati' did was to give me further evidence of Olmi's prowess in screen writing and directing.

To be honest, in a political sense, both 'Il Posto' and 'I Fidanzati' are in the same ball park. Both films explore the corporate scene of Post WW2 Italy and the varied effects of the economic boom on the lives of the working class people. 'Il Posto' dealt with the need to grow up prematurely and pledge allegiance to the corporate system as early as possible for survival in a cutthroat society. 'I Fidanzati' deals with a man who is older than the protagonist in 'Il Posto', but who is also dealing with the effect that the need and the urge to get ahead in the rat race has on his life, more precisely his love life. Giovanni and his fiancé Liliana's lives get turned upside down when he decides to leave Milan and go to Sicily for a job opportunity with more pay. The first scene of the film is very provocative. We are shown this dance hall where the atmosphere is as dull as ever. People are here just as a habit and their desire to enjoy themselves have probably become a chore now. Then we meet the main couple. Both Giovanni and Liliana's faces and the way that they behave with each other tells us clearly that all is not well between them. Then Olmi gives us some flashbacks to inform us about the reasons behind this tension between the two. We then see Giovanni leave for Sicily and what awaits him there is not something that enthralls him. His life becomes synonymous with his work with absolutely nothing to do during his free time. He just wanders around the streets observing people when he isn't in the factory toiling away. There is a scene in Sicily where we see a big carnival-like celebration which Giovanni visits. This scene beautifully complements the opening scene of the movie in the dance hall. This is because the atmosphere here is very energetic and frantic unlike the atmosphere in that scene. However, Giovanni still leaves this celebration feeling lonely due to the absence of Liliana. Ironically this separation actually helps both of them to understand each other a little better in hindsight. What I really love about 'I Fidanzati' is that although Olmi is clearly making a statement on the dehumanising nature of the rampant industrialisation, but just like Antonioni he does it through subtle storytelling and never allows his political statements to obscure what is the heartbeat of the film which is the romance between Giovanni and Liliana and the realisations that they make about their relationship over the course of the film.

In both 'Il Posto' and 'I Fidanzati', I have noticed the fact that Olmi's style of storytelling has an inherent innocence about it. His camera is non-judgmental. He understands his characters and observes them without forcing the viewer to draw rapid and concrete conclusions about them akin to the humanist filmmakers of the 50s and 60s. Just like 'Il Posto', he revels in just observing his characters observing things without doing much. His style of realism gives you hints of his documentary filmmaking past. There is also some French New Wave- esque use of jump cuts in certain scenes that I wasn't really expecting. He doesn't feel the need to cram a lot of stuff and incidents in his screenplays. However, for a film with very little plot development, he does manage to infuse some ambiguity. The scenes where his screenplay delves into non-linearity can be interpreted in more than one ways as per the desire of the viewer. The ending itself is ambiguous. For me, the film ends on a bittersweet note. However, I have read reviews where the ending has been interpreted in a far more pessimistic sense.

The acting in 'I Fidanzati' is tough to judge. One might say that the actors specially Carlo Cabrini doesn't do much except observe things. But I think Cabrini does bring an understated humanism to the role. You can clearly see the loneliness in his eyes when he is looking at himself in the mirror after coming back to his hotel from the celebrations or the subtle joy in his eyes when he sees the dog causing chaos in the church. Anna Canzi who plays Liliana has a very expressive face and very expressive eyes. She doesn't appear in too many scenes, but whenever she does, she makes you know what she is feeling and thinking just through her eyes. Considering that both of them were amateurs, one has to praise Olmi a lot for having the ability to get these subtle performances out of non- professionals.

'I Fidanzati' has cemented Ermanno Olmi's status as an auteur in my eyes whose work I should keep exploring. Although I love 'Il Posto' slightly more than this film, never the less the skill, artistry and humanism present in 'I Fidanzati' make it a great film.

Carlo Cabrini gets a chance for a big promotion. The catch is he'll have to move to Sicily for eighteen months. He's worried about his decrepit father, and his fiancee, Anna Canzi is sulky. When he arrives in Sicily, he finds it foreign and oddly noisy and the people strange and greedy and annoying, but as time goes on, he begins to grow accustomed to its rhythms and his strange dreams the lack of a letter from Miss Canzi. Then a letter arrives....

Ermanno Olmi's ultimately very romantic movie is, when you come down to it, standard studio fare. There were hundreds, if not thousands of movies like it made and still being made. Even so, Olmi's script leaves the outcome in doubt through the end and the cinematography by Lamberto Caimi offers us Sicily first as a terrible and alien landscape that grows warm and home-like is a very seductive fashion. It's a well-told tale.

This was Olmi's 3rd feature and was shown briefly in New York (audiences failed to turn out even when they were giving tickets away). It's a step forward in Olmi's artistry, after the straightforward but delightful realism of "Il Posto." Olmi uses temporal devices to elaborate the circumstances of the hero's lonely life - his long engagement, his decision to take a job offer in faraway Sicily, his longing for Liliana - and succeeds brilliantly, achieving a more artful and truly poetic style. And anyone who has spent some time far away from a loved one will feel acutely Giovanni's isolation and how his feelings for Liliana become clearer and sharper as the days that separate them accumulate. I unhesitatingly recommend this beautiful little film.

The love of a worker for his fiancée is rekindled after a long separation. The poor state of the economy in Sicily and the upheaval of its industry provides the backdrop to this touching love story. Somewhat drawn out and clumsy, however.