Examining this film in relation to classical Hollywood cinema, I do not find that it conforms to the guidelines of classical Hollywood cinema. Classical Hollywood narration involves a particular set of standard options for representing the story and manipulating the composition and style, according to David Bordwell in his article, “Classical Hollywood Cinema: Narrational Principles and Procedures. Bordwell informs us that there is a specific formula that Hollywood screenplay-writing manuals emphasize- there should be four stages to the plot: an undisturbed stage, the disturbance, the struggle, and the elimination of the disturbance. Looking at Cinema Paradiso, there is no evidence of this format in use; in fact, there is not much conventional action that takes place at all. The viewer is engaged in the narrative not through action, but through the exploration of relationships, particularly that of Alfredo and Salvatore (a father-son-like relationship) and life and the movies. The film is largely driven not by any particular event but by using the device of the flashback. Opening the film in the present and then quickly jumping back to the past has viewers posing questions such as: What events in the past influenced him to become the person we just glimpsed in the future? How has Salvatore changed as person over the course of his life?
Another point in which the film does not match up with the standards of classical Hollywood cinema is in its conclusion. Bordwell notes the pressures of rulebooks for a happy ending and a logical wrap-up. In Cinema Paradiso, the ending sequence involves Alfredo’s funeral and the complete demolition of the local movie theater, neither of which I would consider to be happy events. In addition, Alfredo doesn’t end up with his love interest, Elena. Despite the fact that the ending does not conform to the classical Hollywood ending, it does manage to come full circle by answering the initial questions raised in the opening scene. The fact that Salvatore finally gets to see the censored scenes that he long begged Alfredo for is particularly satisfying. Moreover, having a film about movies end with the viewing of a film makes for an even more clear-cut conclusion.
Although I argue that the film as a whole does not conform to classical Hollywood cinema, there is one section where I do see it employing classical techniques. Bordwell writes that classical Hollywood cinema tends to incorporate two plot lines, one of these being a romance and the other involving work, a mission or another personal relationship; this characteristic is something Cinema Paradiso lives up to. As a teenager, Salvatore falls in love with the new girl at school, Elena, whom we do not get to know very well. She seems to fill the position of the beautiful Hollywood actress who is meant largely in part to be looked at. The pattern of the classical Hollywood narrative is fulfilled as we are led to question whether or not Salvatore will end up with Elena. Salvatore’s successful courtship and passionate embrace in the rain furthers this typical Hollywood romance that parallels the protagonist's main journey.
Greetings Shayna,
ReplyDeleteMy name is Alexis and I'm the person grading the blog component of this course. You do a good job in this piece of keeping your points connected to Bordwell's definitions of classical cinema, however your arguments would be much more compelling if you used specific evidence from the film. This would mean moving beyond a description of the story that the film tells (which you do here) to an examination of what the film DOES visually, or with sound, framing, color etc. to make your points.
I look forward to continuing to read your observations this semester.
Best,
Alexis
Your blog is definitely correct in saying that Cinema Paradiso does not conform to the classic Hollywood screenplay. However, I don’t know why or if this is important to the movie as a whole. Maybe by straying from the Hollywood expectancy or tradition, and since the film is about the love of movies itself, maybe Tornatore is emphasizing the separation between reality and the cinema. Through his deviations from Bordwell’s classic film, Tornatore could be proving that for Toto, as well as for the audience, the movies are an escape from imperfect reality.
ReplyDelete"Although the film drags on at times (the directors cut is 170 minutes and the international version is 123 minutes), the lasting themes of love, friendship, and youth make it worth sitting through."
ReplyDeleteResponse: I have to respectfully disagree with you on that one. As uninteresting as this movie was, it should have been alot shorter. The only three movies I will tolerate going over two hours are "The Dark Knight", "Titanic", and "Imitation of Life". Other than that, please keep the movie in the hour and a half range.
"The film is largely driven not by any particular event but by using the device of the flashback."
Response: This is not an excuse for how boring this movie was. Plenty of movies use the flashback feature to illustrate
their narratives.
Most bloggers are saying that Cinema Paradiso does not conform to traditional Hollywood standards, and that would be correct. However, Bordwell does use an element of traditional Hollywood story-telling. At the end of the movie, we see Toto come to grips with reality and the world he left behind.
Much of your blog is devoted to describing the ways in which Cinema Paradiso is unlike a classically “Hollywood” film. While I agree that this is true, I feel like the film is purposely made in this way. While Toto is in love with the notions of classical film, Tornatore, as a director, is definitely not. The reason why many people feel like Cinema Paradiso is on the borderline of being an example of classical cinema is because so much of Toto’s childhood is devoted to these ideals. This is seen through the character of Elena, who Toto idolizes for her beauty before he is able to even speak to her. He believes that he has found true love, at least the way film has described it to him. You make the point that we do not get to know Elena very well, and I believe this is central to the movie’s message. We purposely don’t know anything about her personality, all we really see of her is the typical Hollywood montage of gooey love filled things: rolling around in the rain, wrestling in the grass, picking fruit. Toto lived his young life as if this was everything he wanted. However, once Elena is basically ripped out of his life, he realizes that his innocence and idealism towards love and life is not suitable for the real world. He moves on in order to search for an understanding of the world beyond that in classical cinema.
ReplyDeleteVery nice work with the blog.
ReplyDeleteI agree with Ari. The basic theme of the story is that you can't understand the real word through film alone. Sure, the theater played a critical role in the development of Sal and his community. But, like seeing the world through film alone, there were limitations to the theater. Alfredo recognized these limitations, and wanted Sal to avoid them. Hence, he told him to move beyond Giancaldo, and his romanticized view of the world. I thought the film was brilliant in that respect. As for the length, I tend to watch movies at home on a laptop, so I am able to take periodic breaks. If I am forced to watch a 2 hour+ movie with no breaks, then I'll get frustrated with the length (save the Dark Knight).