The Garden of the Finzi-Continis [1970]

 Giorgio Bassini’s semi-autobiographical masterpiece The Garden of Finzi-Continis was as much a haunting Holocaust novel as a stirring ode to unrequited love, and through the titular Finzi-Continis – a wealthy, aristocratic and intellectual family who lived a life of cultured seclusion and went to their deaths without any resistance – a lamentation on the passage of a certain way of life. Vittorio De Sica’s adaptation echoed, with a touch at once tender and wistful, the book’s understated tone, melancholy, personal heartbreak, collective loss and doomed atmosphere. The narrative began in 1938, just as Mussolini’s fascist government starts enacting oppressive and restrictive laws against Jewish-Italian citizens, and ended in 1943 when the Jews started getting rounded up and herded to death camps. That fateful stretch was evoked through the Finzi-Continis family – with their huge mansion, refined manners, sprawling gardens, and cloistered existence within large walls – and especially the enigmatic Micòl (Dominique Sanda). They’re portrayed through the eyes of Giorgio (Lino Capolicchio), a studious middle-class guy, who’s hopelessly in love with the strikingly beautiful Micòl and enamoured with the family. When Jews are banned from the local tennis club, the family’s private tennis court is opened to them – though the ones who join include non-Jews too, like the left-wing Malnate (Fabio Testi) – and when the public library becomes off-limit, Giorgio finds refuge in the family’s huge personal library. Things, unfortunately, go further downhill rapidly, as he finds Micòl becoming ever more aloof and beyond reach, and the Jewish community in Ferrara being pushed towards annihilation. Beautifully photographed in soft-focus and washed-out colours, the film – initially supposed to be directed by Valerio Zurlini – became a late-career revival for the once pioneer of Italian neorealism.

Director: Vittorio De Sica

Genre: Drama/War Drama/Romantic Drama/Holocaust Movie

Language: Italian

Country: Italy

Il Posto [1961]

 Ermanno Olmi’s tender, low-key, delicately strung and achingly beautiful masterpiece Il Posto – shaped from his personal experiences – remains such an acutely evocative and vividly realized work despite hardly much happening during its runtime. Though it carried the legacy of neorealism – with its humanist story, on-location filming and non-actors – its exploration of urban loneliness in the backdrop of a rapid post-war societal shifts towards giant corporations and social mobility possibly placed it closer to similar examinations by Antonioni, Godard and Tati, even if this stood apart on account of its hushed, understated and bittersweet tone. I, instead, found it profoundly reminiscent of two Jiří Menzel masterworks – Closely Watched Trains and Larks on a String – in their shared poetic restraints while dwelling on mundane moments, blend of wry humour and absurdist irony with pathos, critiques of conformism, and muted comings-of-age of gauche, soft-spoken young guys. The said protagonist is Domenico (Sandro Panseri, whose perplexed demeanour, in turn, mirrored Václav Neckář from the two Menzel films), who follows his parents’ advice for a job at a big nameless organization. He travels from his cramped apartment in the outskirts to Milan, becomes besotted with the ethereal Antonietta (Loredana Detto, Olmi’s future wife), gets hired, is initially posted as a messenger and finally becomes a junior clerk in this vast bureaucratic setup. Gorgeously shot in grainy B/W – imbued with intimacy and melancholy – the film’s two most unforgettable segments featured the fleeting relationship between the two youngsters during the job interview, and a New Year’s Eve office event that transitioned from pensive to exuberant through droll humour and staging, and which reminded me of another Czech New Wave jewel, viz. Miloš Forman’s The Firemen’s Ball.

Director: Ermanno Olmi

Genre: Comedy-Drama/Coming-of-Age/Romantic Comedy/Social Satire

Language: Italian

Country: Italy