THE GARDEN OF THE FINZI-CONTINIS
A film review by James Berardinelli
Copyright 1996 James Berardinelli
RATING (0 TO 10): 7.5 Alternative Scale: *** out of ****
Italy, 1971 U.S. Re-Release Date: beginning November 1996 (limited) Running Length: 1:34 MPAA Classification: R (Nudity, mature themes) Theatrical Aspect Ratio: 1.66:1
Cast: Lino Capolicchio, Dominique Sanda, Helmut Berger, Romolo Valli, Fabio Testi Director: Vittorio De Sica Producers: Gianni Hecht Lucari and Arthur Cohn Screenplay: Vittorio Bonicelli and Ugo Pirro based on the novel by Giorgio Bassani Cinematography: Ennio Guarnieri Music: Manuel De Sica U.S. Distributor: Sony Pictures Classics In Italian with subtitles
THE GARDEN OF THE FINZI-CONTINIS, one of the last offerings from legendary director Vittorio De Sica (THE BICYCLE THIEF), was an international sensation during its original 1971 run. Winner of the Best Foreign Language Film Academy Award and dozens of other accolades, FINZI-CONTINIS was recognized as one of the most important imports of the early '70s. Now, for its twenty-fifth anniversary, Sony Pictures Classics has remastered the original monaural soundtrack into Dolby Stereo, and the film has been cleaned-up and re-issued in a limited release.
FINZI-CONTINIS, a story of anti-Semitism with a different twist, opens in Ferrara, Italy during 1938. Mussolini's brand of Fascism already holds the country in a firm grip, and sanctions against the Jews are increasing. Although many believe that the anti-Semitic excesses of Nazi Germany will not be repeated in Italy, Jewish freedoms are being systematically curtailed to the point where many consider themselves to be no better than "third-class citizens." A recent declaration makes it illegal for Jews to marry non-Jews, attend public schools, have a phone listing, join the armed forces, or hire Aryan servants.
The Finzi-Continis are a powerful, wealthy Jewish family who live a cloistered existence on an enclosed, palatial estate in Ferrara. They are by far the most influential people in the region, and, for at least a while, their position keeps them relatively safe from the growing tide of prejudice. Mico (Dominique Sanda) and Antonio (Helmut Berger), the two adult Finzi-Contini children, have tennis parties for their Jewish friends, all of whom have been expelled from the local tennis club. One of the most frequent visitors to these parties is Giorgio Bassani (Lino Capolicchio), a middle-class friend of the family. But, while Giorgio is fond of all of the Finzi-Continis, he has a special place in his heart for Mico. Unfortunately for him, his love is not returned.
THE GARDEN OF THE FINZI-CONTINIS, a lyrical, almost-poetic motion picture, illustrates the false belief held by some privileged Jewish citizens that, if they isolated themselves from the ugliness of the political climate, they might be spared its ravages. Closing one's eyes doesn't make the threat any less immediate -- a lesson that the entire world learned through World War II.
From the beginning, it's clear that Mico's feelings for Giorgio are not as shallow as she sometimes pretends. But she has woven a web of denial around herself. For her, the future, represented by the world outside the estate, is fraught with danger and uncertainty, and she rejects it. However, the past, as symbolized by the lands within the garden's walls, remains an avenue of peace and safety. Mico maintains a relationship with Giorgio because he recalls childhood memories; to view him as a lover would require that she abandon the past for the future, which she is unwilling to do. So she stays on the estate, hiding from reality and confounding Giorgio with her rejection of his advances.
THE GARDEN OF THE FINZI-CONTINIS holds its audience at arm's length. As a result, Giorgio's romantic plight, which occupies considerable screen time, has a limited emotional impact. Since we never really get close to him, aspects of the movie are less compelling than they might otherwise have been. The film's often-detached perspective allows us to focus more clearly on presentation and issues, but at the expense of caring about the characters.
Dominique Sanda, the icy blond beauty who went on to star in Bernardo Bertolucci's THE CONFORMIST, leaves a strong impression as Mico, whose variable personality (which shifts from coldness to carefree vitality) camouflages her fear. Lino Capolicchio is somewhat less successful as Giorgio -- his character never seems complete. Other cast members include Helmut Berger as Mico's homosexual brother, Antonio; Romeo Valli as Giorgio's father, who wants to believe that Italian Fascism isn't as extreme as the German version; and Fabio Testi as Giorgio's friend, Bruno.
The clearest message delivered by THE GARDEN OF THE FINZI-CONTINIS is that, no matter how important wealth, prestige, and education are, they are no defense against mindless, irrational bigotry. Although De Sica wasn't a Fascist, he lived in Italy during this period and wanted to make the film "out of [a sense of] conscience." And, while THE GARDEN OF THE FINZI-CONTINIS isn't one of the most wrenching Holocaust tales, it is one of the most unusual, and highlights another facet of a monumental tragedy that features an endless number of faces and angles.
- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
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