THE POSTMAN
A film review by Christopher Boone
Copyright 1996 Christopher Boone
Directed by Michael Radford Produced by Mario Cecchi Gori, Vittorio Cecchi Gori, and Gaetano Daniele Written by Anna Pavignano, Michael Radford, Furio Scarpelli, Giacomo Scarpetti, and Massimo Troisi. Based on the book by Antonio Skarmeta Music by Luis Enriquez Bacalov Cinematography by Franco DiGiacomo
Now showing in major cities, and re-released for a second time in select theatres on Friday, February 16, 1996 for a limited run.
12 hours after filming the final scene of IL POSTINO, Massimo Troisi passed away due to a fatal disease that he was well aware was eating away at him. It has been said that he bought the rights to this book because he knew he was going to die, and he wanted to act in a serious role after becoming well known as a comedic actor in Italy. The biggest tragedy of this film is that Troisi never saw what he had accomplished.
Nominated for Best Actor (Massimo Troisi), Best Adapted Screenplay, Best Music, Best Director, and Best Picture for this year's Academy Awards, IL POSTINO has won the battle that few films ever must attempt--to be a foreign film nominated for the Best Picture Oscar along side other American film (or English speaking film) nominees. Due to a technicality that IL POSTINO was released in Italy in 1994, and therefore not eligible to be nominated by Italy for the Best Foreign Film Oscar, Miramax spent $1.5 million and sent tons of videos to members of the Academy to get this film seen and nominated. This is why.
Mario Ruoppolo (Massimo Troisi) is a fisherman's son who becomes a postman due to his father nagging him about not having a job. He has one customer, Nobel Prize for Literature nominee and exiled Communist Chilean poet Pablo Neruda (Philippe Noiret). Neruda is living in Italy on Ruoppolo's island while in exile, so Ruoppolo rides his bicycle to his house every day to deliver the mail. Soon thereafter, Ruoppolo befriends Neruda, and with his simple way of thinking, learns to appreciate Neruda's poetry and share his thoughts with the poet. He employs Neruda's help to win over a woman he has fallen for, Beatrice Russo. Through Neruda's help and poetry, Ruoppolo attempts to win her heart. Enough with the spoilers.
This film is crafted with a tender spirit. Throughout, if you know Troisi's story, you realize how gaunt he looks. His stubble does not mask his dying. This is his final performance, and both he and the audience know it. His character comes alive as if it wasn't a character at all, but rather simply Troisi expressing his feelings for a woman in his own shy, confused way. Opposite Noiret, known to this critic best for his portrayal of Alfredo in CINEMA PARADISO (this critic's favorite film of all time) an accomplished actor, Troisi shines, and steals the screen from him. It is hard not to think about his impending death as the film comes to an ironic close, and Neruda's poetry rolls up the screen.
Many reviews have been written about this film, so I will not write a lengthy one. I will leave it at that. If you have not yet seen IL POSTINO, search your newspaper for the nearest art house cinema, and go see it in its second re-release in less than a year. Take some friends, and tell the rest. You'll quickly realize why the Academy went out of its way for this film.
--cbb
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