Dois Destinos

I wept like I hadn't wept in a movie for years. Director Valerio Zurlini and his cinematographer Giuseppe Rotunno gives us a visual symphony in browns and dark yellows. The faces of the brothers Enrico and Lorenzo played with shattering truth by Marcello Mastroianni and Jaques Perrin have made a home in my brain. Their reunion with their grandmother, played by the sublime Sylvie, is an image, a film moment that I shall never forget. As it happens more often than not, the Italians have released this gem in DVD without English subtitles - not in English or any other language for that matter. I'm grateful for speaking and understanding Italian well enough to enjoy this movie to the fullest. If you do as well, I recommend it wholeheartedly.

How this one slipped off the radar screen is beyond understanding. Against a very muted palette of tone on tone, in which the character Lorenzo's beige over-coat becomes a metaphor of his indefinite link with the beige walled world, director Zurlini weaves a fascinating story of two brothers separated at birth, who effect a tragic reunion in war torn Italy.

Marcello Mastiroianni here offers a performance of greater depth than "La Dolce Vita" (which is just as it should be)but it is youngster Jacques Perrin's "Lorenzo" which surprises.

His performance, (indeed the whole film) is a study in the power of the reticence, understatement and the unsaid. Mr. Perrin's eyes, particularly in the hospital sequences, speak those volumes and light those vistas that would be trivialized in dialog form.

An excellent film with a core of deep sadness, that avoids the fatal commercial trap of sentimentalism.

Phew! What a beautiful film! I'd rank this as one of the most awe-inspiringly composed and photographed color films of all time. You've never seen Mastroianni, until you've seen him in this film, walking around like an iconic black ghost in the darkly hued existentialist-to-the-nth-degree technicolor universe of post-war Italy created by Zurlini and legendary DP Giussepe Rottuno. What a stroke of genius to contrast the bleakest and most depressing of subjects possible with the most fantastically poetic and gorgeous technicolor cinematography this side of `Black Narcissus.' This is one of Rottuno's finest works ever: full of absolutely breathtaking deeper than deep blacks and colors that seem to have sprouted from some otherworldly weathered, neo-realist hallucination. And what timeless subtly paced, unerringly poetic, intelligent and completely uncompromising direction by Zurlini, the forgotten genius of Italian cinema, whose style in this film can be roughly described as a unique melange of neo-realism, Antonioni, Michael Powell, Jacques Becker, early Pasolini and early Bertolucci. It's easy to imagine how easily this story of a tubercular writer grieving the death of his younger brother through a series of flashbacks could've turned into not much more than a melodramatic tearjerker; yet in Zurlini's hands and through the incredible, tour-de-force performance of Marcello Mastroiani in the lead role, the Marxist-proleteriat-plight-of-the-poor sentimentality at the film's core transcends itself and becomes a deeply affecting, painful and ultimately cathartic meditation on death, despair, and the possibilities of redemption in the direst of circumstances.

This is a film so great that to attempt to describe it nearly forces one into poetry. The visual flow alone is like a walk through all the great art galleries of the Western world, and the camera pauses on many of those scenes to permit us to admire and study the surprising compositions and tonal pallets. The story is viewed oddly in the third person - I felt somewhat like an astronomer viewing the short-lived movement of a group of comets through the coldness of space and time - helplessly seeking meaning and comfort through love, but doomed to end meaningless and forgotten - following some brutish laws of physics whose study seems a shrewd exercise in futility.

The scope of action is exceedingly restricted - perhaps more microscopic than telescopic - in the end, it's all the same: universal and intimate, cold and loving, helpless, with an odd image of Joseph's multi-colored coat haunting the mind - yet another symbolic object long rotted into the dust as must all symbols.

This is the work of people who have a very mature, objective understanding of life and who, without romanticizing or distorting or euphemizing, have created something both true and extraordinarily beautiful.

Never heard of this film until 3/20 at 2 am..Thanks to TCM.. & Ive been a fan of Mastroianni & Italian cinema for decades... this is a real beauty..another hidden treasure.. really wanted to sleep (Im an insomniac) but couldnt It was magnificent..Mastroianni was one of the grreatest actors ever on Cinema.. & this film is special..same year as Divorce Italian Style & a year prior to 8 1/2...this film was hidden dont recall it being released in US theatres & was going to see his movies at that time..Mastroianni is magnificent, & as his younger brother, Jacques Perrin is outstanding as is the entire..(unknown to me ,cast) can't wait to see again..Must mention the photography.. filmed like beautiful Italian paintings subtle earth tones, realistic, soft yet striking..each frame is a work of art..Bravo..can't wait to see again & again