O Jardim dos Finzi Contini

While undeniably not for the shallow or those who expect their movies to lay every detail out for them amid plenty of "action," THE GARDEN OF THE FINZI-CONTINIS (a parable on a latter day "Eden" of doomed innocence?) remains after more than a quarter century one of the most perfect reflections of the gradual process by which the Holocaust could have happened in a Europe which believed itself civilized.

The tragic love story allows us into the garden. Only our own action - or blind ignorance - can allow us out.

Not a lot need be added to the perceptive comments already examining the details of this beautiful and moving film - but Americans, especially those of my fellow Republicans who are able to objectively look at their own country and leaders, should seriously examine the politicians who use fear and nebulous "enemies" to gain and hold power in the light of this film. The realization is inescapable that the world of the Finzi-Continis is not that far removed from our own. A question of degree not of kind.

The garden is still seductively attractive, the country around it still relatively free, but will we follow the course the Finzi-Continis took or will we come actively out of our garden while there is time?

I just watched the DVD and had not seen the movie in many years. I found it every bit as moving as I had remembered from my first viewing. This included the Prayer For the Dead (El Moleh Rachamim) magnificently sung as the final credits rolled. I am not Jewish so I had to do some "googling" to learn that El Moleh...is indeed a prayer for the dead. What moved me so apart from the singer's mournfully beautiful voice were the names Aushwitz, Maidenek, Treblinka et. al. interpolated into the text. It reminded me of the penultimate paragraph in Andre Schwartz-Bart's extraordinary novel of the Holacaust, The Last Of The Just where the names of the death camps are artfully placed among the repeated words "And praised Be The Lord". Thank you for the opportunity to share my thoughts.

De Sica is celebrated as the man who brought "neo-realism" to film, one of the three or four philosophies that still vie as motivation for the film enterprise. It is the notion that though film necessarily artificializes, it is possible to start with truth and deliberately enhance it cinematic ally. Because he relied on class struggle, viewers mistakenly associate that with the essence of neo-realism.

His early work is much celebrated, but as he aged and added layers and nuance, his relatively simpleminded audience was lost. Here we have a later masterpiece, not generally regarded as such.

The basic story is of two Jewish families, the impeding brutality of fellow Italians and different approaches to life and love in the knowing face of doom. At that level, it has some charm and power.

But what he has done is to invert all the values and superimpose them on the originals. Its a common technique in writing, and found of course in the novel.

We have the obvious: a relatively small garden within which the inhabitants blithely create an artificial world while the real world grinds down upon them. The garden is in Europe, but it is also Europe.

As I say, That's obvious. Also common (far too common) is the placement of sexual mechanics in political mechanics as if one explains the other while they cause each other. Ho Hum.

But there are three other elements, and these I appreciate. While he is reversing things and overlaying them, he casts accordingly. The European fiction was that Jews were dark, earthy people. Hairy, monetary, shrewd, animal. Yet the actors who play the Jews are according to cinematic conventions of Aryans: light haired, light skinned, svelte. Their manner is similarly cinematic (and the Nazi/fascist movement was inherently cinematic): completely unconcerned about money and politics and instead concerned about poetry and idleness. Roles reversed: we know this for certain when the (Jewish) girl tells her (non-Jewish) suitor he is not her type; too communist and too hairy.

There's another, explicit inversion: the thing is a movie, but the anchor of reality within it is, well, movies. Three times. Plus our hero goes from Passover at his house where the family is singing something vapid to the Finzi-Continis where they are doing something movie-like" looking into a glass to see the future.

Third: we know this is not straight-on narrative, because the camera has a habit of drifting out of the narrative frame. Kar-Wai is the current master of this and for the same reason.

Naturally, underlying it all is that this is not the work of fascists or Nazis, but of Italians and Germans. Not few, but many, essentially all. Because of that one thing, I find this more powerful than "Schindler's List." Sure, his people were more demonstrably evil, but so are all his villains in his fakey worlds. It doesn't make it real if he shows real history in the same theatrical way. No, for real evil we have to see how ordinary it is.

Ted's Evaluation -- 3 of 3: Worth watching.

The Finzi-Continis are a wealthy and privileged Italian family. It is shortly before WWII, a time when the Fascists are slowly taking away the rights and livelihoods of Jews, including the Finzi-Continis.

But none of this seems to pass the walls of their magnificent garden, where the children Micol and Alberto often invite their friends. One of their friends, Georgio, is hopelessly in love with the beautiful Micol. The way this film evokes such youthful, quixotic yearning, or a woman's growing awareness of physical beauty's power, is splendid.

The sadness I felt at the end came from knowing all along what would happen to all of them, rich and not-so-rich, and that they didn't recognize what lay in store for them until it was too late. The Garden of the Finzi-Continis was Vittorio De Sica's last hurrah, a masterpiece of neorealism, and timeless evocation of a time lost.

One of the most celebrated foreign films in history, "The Garden of the Finzi-Contini" has been re-released so that people who missed it in 1971 can see the film restored as it was originally meant to be viewed -- then ask themselves WHAT WAS ALL THE FUSS ABOUT!!!!!

This film recounts the fall of a Jewish family during Mussolini's rise in Italy during World War II. The story follows Giorgio as he tries to surf outside his social class and win over the cute but cold-as-ice Micol. He fails, along with the film.

This is NOT a great film. Like many period pieces, it's a stately bore. The plot and character development take forever to build any steam. Just when you begin to care a little about the characters -- the movie ends. Or, more accurately, just stops, dead in in tracks, not a single plotline resolved. Characters just disappear along the way, randomly, with no dramatic impact. It's photography was way too detached from it's subject matter until it's too late. In the end, too frustrating to be entertaining and too boring to be thought-provoking.

THE GARDEN OF THE FINZI-CONTINIS holds its audience at arm's length. As a result, Giorgio's romantic plight, which occupies considerable screen time, has a limited emotional impact. Since we never really get close to him, aspects of the movie are less compelling than they might otherwise have been. The film's often-detached perspective allows us to focus more clearly on presentation and issues, but at the expense of caring about the characters.

DeSica directed many masterpieces but this film does not qualify as a masterpiece nor does it stand the test of time.