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| A portrait of the artist as a young man |
The story begins with successful filmmaker Salvatore learning of the death of his childhood mentor, Alfredo. The film then flashes back to Salvatore's childhood in impoverished post-war Sicily. While his widowed mother struggles to raise and provide for her two children, willful Salvatore escapes the bleak atmosphere that permeates his home by retreating to the local cinema. It is there that he dares to hope for a life beyond the dusty streets of his village as he is regaled with tales of heroes, villains, and every colorful character in between. As the cinema's films and audiences change with the years one constant remains; the faithful presence of its projectionist, Alfredo. While the precocious Salvatore's constant antics wear on the adults around him, including the gruff projectionist, Alfredo recognizes the boy's passion for film and the two form an unlikely friendship. The film then chronicles Salvatore's coming of age as he grows from impish boy, to earnest adolescent, to world weary man with Alfredo and the movies that they shared guiding him every step of the way.
This love letter to the movies celebrates the ways in which film can compel, challenge, and unify film-goers from all walks of life. Throughout the film Salvatore, along with the rest of his village, finds refuge from the grinding reality of post-war Europe in the world of endless possibility presented on the silver screen. Although the villagers remain divided over war-time alliances, personal grudges, and petty jealousies, for a few all too brief hours in the dark all is forgiven and anything is possible until the final credits roll. Through the power of film lonely Salvatore is able to find a friend and surrogate father and Alfredo finds a student, friend, and the son he never had. For Salvatore, the influence of film lasts throughout his life by inspiring him as he struggles through school, adolescent romance, and eventually leaves the limited streets of his village behind to pursue a career in film making.
Even as it basks in the warm glow of cinematic nostalgia, Cinema Paradiso acts as more than a call to creativity as it also offers a warning against the dangers of censorship. Throughout the film the village priest, Father Adelfio, visits the cinema to preview each film that Alfredo shows and designate any 'objectionable' scenes that must be removed before general viewing. While these scenes are played to comedic effect, they highlight the ways in which censorship shapes our views of art and prevents us from making our own interpretations of artwork. The theme of censorship runs as an undercurrent throughout the film which carries over into the characters' personal lives. For example Salvatore's relationship with his mother is strained by her refusal to tell him the truth about his father's death in World War II. Similarly, it is revealed (in the original director's cut) that Salvatore's relationship with Elena ended not because her family moved to a new town, but instead because Alfredo hid her letters and prevented the couple from openly communicating. In both instances the censoring of personal information prevents the characters from fully understanding the events unfolding around them and making informed decisions.
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| Swoon-worthy celluloid |
The film's warning against the dangers of censorship holds eerie relevance in today's climate of 'cancel culture' in which art and history are routinely subjected to censorship for failing to meet an ever changing standard of political correctness or 'wokeness'. Much like in Cinema Paradiso the effects of this censorship are now carrying over into real life as cancel culture moves from canceling history and art to censoring individuals. This pervasive intolerance, which is touted for promoting inclusivity, in fact acts to remove any diversity of opinion as it effectively attempts to put an end to freedom of debate, discussion, and ideas. Rather than allowing society to learn from the past and work towards a better future, this movement has instead devolved into a mob mentality which targets any opposing work, idea, or individual for erasure. Proponents of this movement claim that it is elevating society's values and thoughts, but as Alfredo notes "A mob doesn't think. They don't know what they're doing". It is now up to us as readers, viewers, consumers, and individuals to ask ourselves, if we will tolerate the censoring of our culture by this impulse and emotion driven mob or if the freedom of thought and speech is worth defending.
The film brilliantly transports viewers to post-war Italy thanks to the stellar work of its cast. Antonella Attili personifies world weariness as Salvatore's struggling mother while still conveying Maria's unconditional love for her children. Agnese Nano is nothing short of enchanting in her portrayal of Salvatore's teenage love interest, Elena. Leopoldo Trieste showcases a comic absurdity worthy of Charlie Chaplin in his turn as the village's stern, but hilariously inept priest, Father Adelfio. Salvatore Cascio, Marco Leonardi, and Jacques Perrin seamlessly portray Salvatore as he evolves from lonely child to successful, but conflicted, man. Philippe Noiret brilliantly brings Alfredo to life as he portrays each aspect of the by turns curmudgeonly, comical, warm, and wise projectionist with equal aplomb.
At once a powerful coming of age drama and a celebration of the silver screen, Cinema Paradiso is must-see viewing for any movie lover. Through its by turns heartfelt and thought provoking script the film serves equally well as a valentine to celluloid past and a warning for the present. The film's uniformly superb performances aptly transport viewers into post-war Sicily while relating a universal tale of love, loss, and creativity that will resonate with viewers of any generation. Join Salvatore and Alfredo and rediscover the magic of the movies in Cinema Paradiso.
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