Movies are the universal language understood in every corner of the world and they bring together the unique population of the Cinema Paradiso, along with their search for a communal experience in which they can not only laugh/cry at the same time but even whistle mercilessly at the projectionist when a technical malfunction occurs. For this town of modest means this is basically their only source of entertainment and main reunion site so there are plenty of other goings-on while the lights are dimmed such as courtships, attendees napping or making-out, the breast-feeding of babies, the sharing of an occasional cigarettes and even mafia-type hits. One could simply say that life doesn't stop while movies are projected at the Paradiso. These concepts may sound preposterous to today's audiences but fact is the theaters of old had their own, peculiar communities and the movie effectively makes theirs seem real and hilarious.
The many faults of our film's earlier, longer version are a great tool to understand some of the things the shorter one got right to begin with. Even though it represents the \"Cinema Paradiso\" as originally conceived by Tornatore, the extra subplots and complications add nothing to the main theme of romance, friendship and love of the movies. It would seem the director got lost in the details and forgot the precise kind of movie he was making. Alfredo is now shown lying to Toto and being a factor in destroying his relationship with Elena, killing much of our sympathy for him. The clever complications involved in two theaters sharing two halves of the same print, now include a tasteless sex scene that makes little sense. Great characters and routines that worked to perfection in the theatrical version like the plaza nut and the movie censoring process are extended to the point where they are no longer funny. Even Ennio Morricone's sublime soundtrack can feel repetitive when played enough times.
Most \"Director's cuts\" are simply re-releases of a film with extra scenes that were cut from the theatrical release (for good reason) and put back for purely financial purposes, but there are exceptions, for instance, James Cameron is usually forced to trim his films in order to fit a certain number of theatrical showings per day and once you see his directorial cuts you never go back to the original. There are three considerations which I believe every filmmaker must take under account before embarking on the Director's Cut of a memorable movie: 1) The natures and attitudes of the characters audiences have come to know and love must not be altered significantly, 2) There must be no major changes in the dynamics of their relationships and 3) The movie must not be made longer than need to be. The longer cut of \"Cinema Paradiso\" fails on all three accounts and greatly reminds me of \"Apocalypse Now Redux\" in which the legendary Lt. Colonel Kilgore now seems witless while searching for his surfboard and Captain Willard (who could breath and think of nothing else than Colonel Kurtz) is now shown as a James Bond of sorts who has dalliances with beautiful girls at various steps of his journey. Both re-issues turn great classics into lesser movies and only serve in helping us value the powers of great editing. My recommendation for readers of this review is to stick entirely to the older versions of both and ignore that a new one even exists, otherwise you may find yourself forcing to apply the mental \"erase button\" that we usually reserve for the many sequels that have diminished their original entries.
If the magnitude of the discussions that took place in the background of the film's release were analogous to its quality, then we would probably be talking about the greatest movie of all time! Wolfgang Petersen's directing may have been mediocre and the film found inaccuracies, variants and rationalistic simplifications of the Homeric poem Illiad, but all of it was sufficiently covered by an action-packed spectacle, visual effects and a glamourous cast including Brad Pitt, Eric Bana, Orlando Bloom, Diane Kruger and Sean Bean to name a few. The soundtrack is beautiful and it does justice to the essence of remembrance that the ancient Greeks valued so much. Yes, one of my favorite movies, you got me.
Clocking in at roughly three hours, 1997's The Odyssey can be viewed as either one long movie or a two-part mini-series. A terrifically truthful adaptation of the Greek myth of Odysseus, the film recounts his ten-year journey home after the events of the Trojan War.
Though a few (mostly silent) films preceded it, the 1956 movie Helen of Troy is notable for being one of the earliest cinematic interpretations of The Illiad and The Odyssey. The movie's plot follows the same large strokes as the source material, though it paints the Greek kings in a poorer light to build up the love-story elements of Helen and Paris.
Stranger Things, Money Heist, and other Netflix shows and movies have racked up the most total viewing hours. Another one of the best Hindi dubbed web series on Netflix, Bridgeton: Season 1 has topped the top ten web series list. It has clocked in at approximately 625 million hours all over the globe. 1e1e36bf2d