Visual Journal With Designer & After
Apparently sprinkled with a monotonous story about a boy’s fascination with Giancaldo’s cinema, whose projector is old Alfredo (Philippe Noiret), the film succeeds beyond expectations and the director not only in penetrating the memories of Salvatore (Salvatore Cascio / Marco Leonardi / Jacques Perrin), but also in the memories of a collectivity about their own cinematic experiences and passions.
Paradiso Cinema represents a life story related to a vocation, a passion that is carried out with the specific tension of deciphering a musical score or a love letter to the movies. A “Niche of the Sicilian Realms” gradually matures, revealing the mysteries of life and cultivating their passion for cinema. The reward for his efforts, the dressing for the mother’s beatings and the old projector’s crawling are reflected in the professional success, the little Toto succeeding in becoming the renowned director Salvatore.
Because any success does not come without a price, Salvatore has to sacrifice his love for Elena, which will haunt him for the rest of his life. Though the film may be accused of a sentimentalism, the public could legitimize and justify it because of its awakened empathy, which, by translating the role of films in animating life in a Sicilian town, makes this story a celebration of art and history the social scene of the cinema, a moment of days of innocence when pleasures could be met cheaply and immediately.
In 1988, Cinema Paradiso was part of artistic artillery that marked a new era for European cinema, especially Italian, opening the gates of nostalgic postmodernism. Considered for this idyllic manipulation of nostalgia, Tornatore creates a super-spectacle in this film by celebrating a lost perfection defined in relation to the idea of childhood, the historical roots of a Sicilian province, and the notions of family, community and unconsumed love.