A Noite de São Lourenço

In the World War II, part of the citizens of the Italian Tuscan town of San Martino decide to leave their homes in the night of San Lorenzo, escaping from the Germans, and searching for the Americans. In the way, they fight against the Fascists, and most of them survive. The story is told by the character Cecilia, an unpleasant six years old girl at that time. Yesterday I watched this famous movie for the first time. I do not know whether was the high expectation I had, but I find it too personal and disappointing. The amateurish cast has not passed emotion to me. The story is very simple and too personal and has not engaged me. I would not like to be unfair, but I have not seen anything special in this small budget realistic movie. I usually do not read any comment of a film before writing mine, but I read the review of Howard Schumann (Vancouver, B.C) and I found it excellent. My vote is six.

Title (Brazil): `A Noite de São Lourenço' (`The Night of San Lorenzo')

Italian films of the late forties and early fifties were usually shot in the same neorealistic style. They showed he horrors of WW2, but also showed the fierce determination of Italians to free themselves from fascist rule. By the late 1950s. Italian cinema had pivoted to screwball romantic comedies and surrealist style of direction like Fellini. Style began to overwhelm Italian cinema and neorealism was soon a memory. This film not only revives some of that old-fashioned Italian neorealism, but also marries it to modern surrealism, in a blend of comedy and horror that one seldom finds in cinema today. It is a film not to be missed by true lovers of, not only Italian cinema, but of all cinema. Don't miss it.

The fraternal filmmaking team of Paolo and Vittorio Taviani recall the closing days of World War II with mingled affection and pain, looking back at the fate of one small northern Italian village (ostensibly their own childhood home) set in the path of opposing armies. Combining their typically lyrical approach to storytelling with a remarkable feel for setting, the two directors follow a small group of villagers as they steal through enemy lines one night in an attempt to meet the advancing Allied troops. Seen through the rose-colored lens of memory, the Taviani brothers' episodic reminiscences take the horror (but not the hurt) out of battle, reducing all the bloodshed and rage to a poignant and distinctly recalled tragedy.

I recently spent two weeks near San Miniato (home town of the directors and setting for the film), so part of this film's charm for me was to revisit the beautiful Tuscan countryside. But it is also a moving portrayal of a painful moment in Italian history, as the advancing Allies, the retreating Germans, the Fascist Blackshirts, the anti-Fascist partisans, and deserters from the Italian Army all converge on a small hilltop town in Tuscany (called "San Martino" in the film). Meanwhile, ordinary civilians just try to survive and keep their dignity. Some of the townspeople accept the Germans' offer of sanctuary with the bishop in the cathedral; others strike out across the countryside to find the Americans. Each group faces the unanticipated consequences of their choices. I have the feeling that many of the actors were non-professionals - entire families appear in the cast list - and the editing & special effects are also kept very simple. (There's a great deal of violence, but almost no cinematic "blood and gore.") But perhaps that's in keeping with the somewhat "naive" perspective that the film strives for - the story is told through the eyes of an eight-year old girl. For a book that focuses on the same region and period, I'd recommend Iris Origo's "War in Val d'Orcia."

"La notte di San Lorenzo" is from the heydays of the Taviani brothers (the first half of the 80s) but is in my eyes one of their weaker films from this period.

It is situated near the end of the Second World War. The Germans are desperate and a cornered cat makes weird jumps. The inhabitants of a small Italian village decide not to wait for these weird jumps and travel in the direction where they believe the American liberators are.

The journey becomes sort of an odyssey. Old stories are told and hidden secrets are revealed. I was especially touched by the story of the old widow and widower obliged to share a room and confessing their mutual love sixty years after the fact. Gabriel Carcia Marquez could have written it.

The story is told as a bedstory from a mother to her child. When the film ends the child turns out te have been sleeping from the very beginning. So the mother has in fact told the story to herself .... or to us.