Cinema Paradiso

Cinema Paradiso

Directed by Giuseppe Tornatore

155 minutes

Giuseppe Tornatore’s 1988 film Cinema Paradiso is an endearing film that brings the magic and joys of cinema love to a poor Sicilian community.

Cinema Paradiso is set in the 40s, the 50s, then the present day, the 80s. It involves a young boy Salvatore (Salvatore Cascio) and an older man, Alfredo (Philippe Noiret), a theatre projectionist in a cinema house called (Cinema) Paradiso, a cinema that resembles a church. Salvatore connects with Alfredo as a father figure and a lover of the cinema. Even though their relationship involves annoyance and slapstick routines, humour turns tragic when Alfredo’s good samaritan gesture burns the cinema down. Salvatore is able to save Alfredo but as a result is blind and badly burnt.

Progressing into the 50s, Cinema Paradiso has been re-built by a man from Naples and now, a teenage Salvatore (Marco Leonardi) is the main projectionist with Alfredo by his side. This chapter focuses on Salvatore falling in love with Elena (Agnese Nano) and the consequences that go along, such as not being accepted by Elena’s parents and having to serve time in the military. Convinced by Alfredo, Salvatore leaves town to start a new life in Rome. Cinema Paradiso begins where it stated 30 years later, and a much older Salvatore (Jacques Perrin). Salvatore returns home in order to attend Alfredo’s funeral and see the cinema he loves, demolished.

This is a progressive journey between Alfredo and Salvatore which is, equal and respectful. Alfredo is a mentor, taking Salvatore under his wing and Salvatore is simply there for Alfredo. It is quite upsetting knowing their friendship has ended and can only remain a memory. Similarly, the cinema being turned into apartments is a topical conversation we face today. But besides these tragedies, this is a sweet film. Prior to the demolition of paradiso, the viewer has already experienced a time in cinema, pre multiplex and the golden age of film, and this is beautiful and rewarding.

However, Cinema Paradiso is not necessarily suggesting the past is better it is a nuanced film. We discover that perhaps holding onto nostalgia is damaging. For example when Salvatore returns home and see’s his home without a cinema he is naturally upset and feels responsible for leaving town, you can also argue that due to the past Salvatore is a successful director. However, their is a straight forward analogy the the past has damaged Salvatore love life. This is when he tracks down Elena and discovers she has married. Although, Salvatore has had other partners he reveals that his life has not been properly fulfilled. For Salvatore, the past was a time of enjoyment and because he has not been unable to shake off these memories it has left his unhappy.

There is plenty to enjoy with Cinema Paradiso, the composition is Ennio Morricone, which is sad and whimsical, but mostly enjoyed as a memorable tune that will remain in your head. The washed out tones resemble a spaghetti western depicting a rural community but the setting of the cinema, is symbolic to the frontier and the western confliction.

But most of all, the snippets of American epics and international films, staring Brigitte Bardot or directed by Michelangelo Antonioni reminds the viewer to a time that existed in cinema, pre- CGI. Not to mention the innocence and directors that pushed these boundaries on screen, making it tragic within itself.