classicsoncall
The subtext of Pablo Neruda's (Philippe Noiret) Communism was brought up a distractingly excessive number of times in the movie, and wasn't even necessary to tell the story, except that it was the reason for Neruda's exile. His romantic views of Communism obviously looked askance at the dehumanizing effect the ideology has which promotes subservience to a governmental authority. There's no poetry in that to my mind, but somehow he got many believers to hear his message. Other than that, this is a gentle story that reveals a developing relationship between Neruda and his dedicated postman Mario Ruoppolo (Massimo Troisi) on an Italian island. I liked the way their friendship evolved over the course of the story, and how Mario came to be a lover of poetry. So much so that he asks for Neruda's help in writing a poem that would win him the heart of a pretty waitress in town. Though it didn't appear that the lovely Beatrice (Maria Grazia Cucinotta) had any other romantic prospects available, I personally didn't quite understand the connection she felt for Mario. Obviously uneducated with a limited grasp of reading and writing, Mario didn't have much to offer Beatrice in the way of comfort and security. However once he proclaimed that her smile spread like a butterfly, she was a goner. I hate to be cynical, but I think it would have taken more than that to close the deal with someone of Beatrice's bearing and Mario's lack of. There's a disturbing sense of closure to the story when it's revealed that Mario died shortly before the birth of his son, with Neruda gone and Beatrice raising their young boy alone. Mario was never able to reconcile with the loss of his friend, who returned to his home country of Chile when an arrest warrant against him was revoked. It's strongly suggested that Mario died at the hands of authorities while protesting his pro-Communist leanings at a demonstration that got out of hand. For such a tragic ending, no metaphors are sufficient.
gradyharp
Having just visited the opera version of this film IL POSTINO by Daniel Catan courtesy of PBS Great Performances it is rewarding to return to the original source to honor the nidus for the inspiration for the opera. Directed by Michael Radford the film relates the heartwarming story of Mario (Massimo Troisi), a gentle and simple postman who falls for the beautiful café waitress Beatrice (Maria Grazia Cucinotta) from his village, but is too shy to speak to her. He meets the famous Chilean poet Pablo Neruda (Phillipe Noiret), and, as their friendship develops, the postman's own inner poet awakens. Soon he is able to win the love of Beatrice and even stand up for and express his own beliefs.This is a simple story graced by sensitive performances: of not the actor Massimo Trosi died from heart failure on the last day of production of the film. It is possibly this knowledge of the loss of one of Italy's best comedic actors along with the clarity and transparency of the film's gentle message about love and art that has made it a cult film. At any rate this is a film that belongs in every movie lover's library. Grady Harp
felixoteiza
This is actually an Italian fairy tale, one where Neruda is little more than a simple enabler for two lovebirds. The story of a humble, uneducated, man who conquers the heart of a girl with words borrowed, or stolen, from the great poet. Nothing wrong with that, except that this Master of Words proves at the end to be very flawed, unworthy of the worshiping he's the object of-—but more of that later. Decent acting overall, breathtaking scenery—those postcard coastal natural settings are also common in Neruda's Chile—but the writing lets a lot to be desired, with too many schmaltzy scenes & dialogs and assorted cliché situations. Not surprise then that he plot loses its breath half way, when the lovebirds get married and Pablo returns to Chile. What is left then is the same thing we had at the beginning: the daily routines of a small fishing town in southern Italy. Will that be enough to carry the rest of the movie? Don't think so. This isn't Amacord or IVitelloni, as the whole plot was resting on the relationship Neruda--Mario and so when that comes to an end the movie is left gasping for air, begging for some emotional filling as a replacement. With the poet gone and the romance morphed into routine, all what's left for Mario are unfulfilled family obligations and a constant moping for the absent Master.There is an obvious plot discontinuity when both men separate, perhaps because this script was made sewing up two original stories, set in different places at different times. Sure enough, Neruda was in exile in Italy after having fled Chile in 1949, when the Chilean government started jailing Communists, despite them being part of the governing coalition (!) after being pressured by the Yankees, who had started their own witch hunt. (it's hard to believe, but the reason why communists were hunted down was because Chile's president was afraid of it being considered unfriendly by the U.S and risk losing trade, diplomatic and political benefits). Neruda escaped to Argentina & then to Italy, where he was well received thanks to the work made on Italian public opinion by fellow communist Alberto Moravia. On the other hand, the story of him befriending a postman and writing him poems dedicated to his love interest comes from Antonio Skarmeta's Ardiente Paciencia, set in Chile in the 60s, in the coastal town of Isla Negra, where Neruda had a cottage (which is now a museum). So, this is really a Chilean story transposed to Italy, which may explain the awkward plot situation produced when Neruda leaves.Now, Noiret may be a great actor but he makes a disfavor to Neruda with his work here, at least in 2 instances. First, when he's back in Chile he forgets about Mario and doesn't even answer his mail. The real Neruda would have never done that, because for him friendship and loyalty were two things intrinsically tied to class struggle and political commitment. For him all communists--and all members of the working class-were his brothers whatever may have been their countries of origin or their educational level, and all right wingers and rich people in general his enemies, as for him there was no middle ground at that. In real life he would have never acted like he does with Mario, just because he's a less educated man. At least he would have sent him a postcard. The 2nd thing is you would have never caught him in church, let alone crossing himself, as he was an atheist who had no use for religions or for any organized church and the only people in that realm for whom he ever came to feel any respect at all were the Quakers, just because they helped pay for travel tickets to Chile for thousands of Spaniards fleeing their civil war. It's obvious that both misrepresentations have been committed to keep the plot going, which I can understand, but the record must be set straight anyway.Anyway, IP can be very touching the first time you see it, but it goes losing its emotional punch with time, as there's no much left to get hold of after the thrill of the love story and that of the beautiful words wears off. But worse is the portrayal of Neruda as a snob; an hypocrite who'll be nice to the locals as long as he needs them but who'll forget them as soon as he's gone. I'm all for artistic licenses, but not when they make appear an authentic individual under such an unfavorable and false light.In all, to see maybe a couple of times. Anyway, if you want to see something closer to the real man, watch Skarmeta's Ardiente Paciencia.
