Chroniques et points de vue:From :ltalian star and filmmaker Massimo Troisi was dying of heart failure even before this film, his dream project, began production, and he prevailed upon British director Michael Radford (
White Mischief) to see him and the film through to the end. (The 40-year-old Troisi, a beloved comic actor in ltaly, died the day production wrapped.) Based on true events, Troisi plays a shy postman who strikes up an unlikely friendship with exiled Chilean poet Pablo Neruda (Philippe Noiret). Through Neruda's example and tutelage, the hero learns to think of his ltalian fishing village in lyrical terms, as well as how to talk to women and even find the strength to take his political stands. Sweet as it is, the film finally pushes beyond its charming borders to become an even more complex and poignant story about the pain of growing into one's destiny.
--Tom Keogh
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L'avis des consommateurs
Note moyenne:
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Ciao Mario
Ce film est fantastique.
Il est bien triste que l'acteur interprêtant Mario soit décédé juste après le tournage... Un acteur formidable... qui donne au film toute sa tenue...
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Enjoyable and delightful film!
Massimo Troisi's last work as Il postino became his undesired cinema testament. His acting became in one of the most expressive performings ever given : amazing, charming, overwhelming , powerful and sincere.
Noiret is a multiple skill gifted actor ; his presence literally invades the whole screen and his performance as Neruda is top notch.
The landscapes are arresting : the plot is full inspired and the direction is towering . Radford got a sublime work : an unforgettable artistic work. Besides the music is another brilliant actor: even there is a jazz version of the Yellowjackets.
And don't forget the funny and clever statement of il postino : "The poem doesn't own to the poet but whom needs it*
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* "MAN HAS NO BUSINESS WITH THE SIMPLICITY OF COMPLEXITY"... ...
What a poignant and bittersweet Italian comedy about the friendship between exiled Chilean poet Pablo Neruda and his shy postman (played by Troisi), made so in no small measure by Troisi's quietly contained but gripping performance.
The lyrical screenplay perfectly balances the intimate story of a local postman with the social and political realties of 1950s Italy, suggesting that the backwater, impoverished Italian "Mezzogiorno" could find new potentials just like the movie's protagonist.
In weaving its leisurely unfolding tapestry (hint: the movie may feel slow to people who're used to Hollywood's wham-bam), the film works on many different levels -- a tribute to the power and beauty of poetry; a tale of brotherhood; a charmingly quirky romance (between Troisi and barmaid Maria Grazia Cucinotta).
Unfortunately, the ending of the film is somewhat mishandled with couple of unnecessary scenes, but it is this very ending that I found the most memorable because it eerily corresponds with the tragedy of real life behind cameras.
Couldn't recommend this lyrical gem highly enough.
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Beautiful, Enchanting, Understated...a Masterpiece
This is definitely one of my all time favorite films and one I just had to own. It's so beautifully understated and so deeply human that I don't know how anyone could fail to fall in love with it and remain in love with it, always. IL POSTINO is a film with everything: comedy, pathos, beauty, love, loss, poetry, beautifully understated performances by all the actors, gorgeous cinematography. I don't know who could ask for more.
IL POSTINO takes place in 1953 and centers around an unlikely friendship of sorts between a shy, backward postman, Mario, and the great Chilean poet, Pablo Neruda. It takes place on a little island off the coast of Italy where Mario (Massimo Troisi) has just been given the job of delivering mail to the island's newest inhabitant, Pablo Neruda (Philippe Noiret). Mario, who has the soul of a poet, though he doesn't realize it yet, can't help but notice that Neruda, a very unlikely Casanova, receives many letters that seem to be from women. In fact, there is a woman who lives with him (probably his wife) and Mario can see how deeply in love they are.
Mario knows there's something special about Neruda, even if he can't articulate exactly what it is, and he decides to get to know him better, no matter what. His first attempts are almost akin to stalking (and probably would be if he weren't Neruda's postman), but Mario perseveres and the friendship between the two men eventually flourishes. Initially, Mario wants to get to know Neruda so he can learn how to pick up girls (not a bad reason), but, as the men get to know each other, Mario learns that there is so much more to life, and so much more to his own soul, than simply "picking up girls."
One of the things that makes IL POSTINO a masterpiece is the fact that all of the actors, and especially Troisi and Noiret, give very gracefully nuanced, very understated performances. There is no glitz and glamour here, thankfully, and none is needed. This film is so "real" and so "human" that it weaves a web of magic around the viewer before the viewer is even aware of what is happening. One of the most telling, and heartbreaking, moments comes near the film's end after Neruda has departed the island. Mario is reading a newspaper clipping in which Neruda is quoted as saying of his time on the island, "I lived in complete solitude with the most simple people in the world." Although Mario doesn't comment on this, his facial expression, which barely changes, reveals just how deeply hurt (and complex) he is. Philippe Noiret's very understand performance is lovely as well, and he and Troisi play off of each other wonderfully.
IL POSTINO was Massimo Troisi's "dream project" and, sadly, he died the day the film wrapped production. With IL POSTINO, however, he left us a wonderful legacy. This film is quiet and understated, but it is also charming, endearing, beguiling and enchanting. It says more about "life" than any mega blockbuster ever could. IL POSTINO is a film made with love, about love. It is a masterpiece of life that most viewers will treasure.
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* Glorification of collaborator in mass murder ...
If this movie used a mythical accomplished poet to build the story around, I would find it a pleasant if light diversion. But it not only gives us Neruda, it is unabashedly enthusiastic about Neruda's remorseless support for Stalinist mass murder. He may have created interesting metaphors, but he was unable to comprehend morality. It wasn't that Soviet crimes were unknown in Neruda's time, it was that he chose to support them. His career was devoted to extolling Marxism, and he accepted the Stalin prize from the Soviet murderers.
It is impossible to imagine a film made today that glorified an artist who was a Nazi, but we are still subjected to the mythmaking that, at once, conceals and implicitely justifies communist mass slaughter. The movie does not merely place the characters in the time of Soviet brutality, and refer in passing it, it shamelessly revels in communism. It is thin and evil propaganda.
