1950 [ITALIAN]


IMDb Rating 7.3 10 5954

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Uploaded By: FREEMAN
February 03, 2021 at 03:56 PM


Ingrid Bergman as Karin
720p.BLU 1080p.BLU
978.56 MB
English 2.0
23.976 fps
1 hr 46 min
P/S 1 / 14
1.77 GB
English 2.0
23.976 fps
1 hr 46 min
P/S 6 / 15

Movie Reviews

Reviewed by trossellini-939-595470 9 / 10

a sincere work

I wanted to take the time to write of this work by my grandparents Rossellini and Bergman, as it has always been a film of both great emotion and confusion for me personally. If anything, there is much to be said for my grandmother moving from Hollywood to a deserted volcanic island with meager means and low production capacity. This speaks to her love not only of my grandfather's work, but also to her sense of adventure and courage, looking for new ways to express herself as an actress. When it comes to my grandfather, this is his most impulsive directorial work. He was in a both stressful and joyous time in his life and i can only imagine the feelings of both anguish and happiness that he felt. All of these swirls and jests of emotion are apparent, they are as evident as the very powerful setting itself. Though the film is certainly not perfect, and at times even slow and overtly dramatic, it is nonetheless sincere and beautiful. It is a work of love made by two people in love.

Reviewed by tsember 10 / 10

A flawed masterpiece

Stromboli Island is dominated by its continuously active (though infrequently deadly) volcano. The Tyrhennian island has a desolate look. Its men fish the waters north of Sicily and west of Calabria, its black-kerchiefed women mind their business and watch everyone else's. There is little money, no electicity and no running water. The morality is traditional and narrow. In that world it is a given that the man is the boss. He keeps his own counsel. He chastises a wayward wife as he would an unruly child. His woman's body is a utility for his release. The woman's pleasure is not a proper concern for the man. Or the woman. Like the movie, life in Stromboli is black and white. In the best exposure ever of the fisher's life, we see the boats net a school of desperately thrashing tuna. Somehow Rossellini captures the scene from the fish's point of view. In another take, the hero puts a ferret after a rabbit and enjoyably watches his wife's distress with the killing. He scorns her discomfort with this reality. An elemental man, he accepts that what you is eat is what you kill. Karin (Ingrid Bergman) was a flirtatious Lithuanian refugee with a well-developed sense of the world and herself. She wanted out of her post-WWII internment. Antonio (Mario Vitale) was a simple, horny soldier looking to acquire a wife. Eccola, Karin's ticket! They married and he took her to his island but it was apparent right away that Karin could not fit with the primitives of Stromboli. Antonio, though, expected her to come to terms with her situation, to "come around. At the end a pregnant Karin is shown in an agony of conflict: the necessity to go from Stromboli and the necessity to stay. Unfortunately, we can't care for Karin inspite of her impossible situation: she is stuck on her own predicament to the exclusion of any concern for her husband. Antonio is a nice guy who does feel for his wife's misery. Although Antonio gives Karin a cuffing after one embarassment and tries to imprison her to keep her from leaving, his actions are restrained given his place and the time. And the provocations he's endured because of her eye for other men. She has made a fool of him. She has estranged him from his own people. We could care more for Karin if she cared a little more about the predicament she's caused poor Antonio. Note: Even a great director like Rossellini had to bow to Hollywood standards to get a showing in the U.S.: Antonio and Karin sleep in separate single beds a la Ozzie and Harriet (in Stromboli!) and Karin, toward the end of the movie, rests on the ground after coming through the smoky fulminations of the volcano with not a hair out of place, makeup perfect, dress as clean and neat as if it had just come from the cleaners. What a gal. Jim Smith----------------

Reviewed by lqualls-dchin 10 / 10

the adventure before the letter

Or L'AVVENTURA AVANT LA LETTRE, which actually encapsulates the situation of STROMBOLI. Although the recent death of Michelangelo Antonioni brought about many commentators who discussed the revolutionary effect of the first screenings of L'AVVENTURA (Martin Scorsese wrote such a piece which appeared in The New York Times of August 12, 2007), this was a far cry from the disastrous reception that STROMBOLI had in its original release. Of course, part of the problem was the extra-filmic situation, the "scandale" of the Bergman-Rossellini relationship.

But all that's in the past. STROMBOLI must be seen as the revolutionary work that it is. In the past (and this continues today), the film was castigated for its meandering plotlessness, for its seeming aimlessness. These are, in fact, aspects of the film, because the film is not "about" the passions of a woman (though this was how the movie was advertised on its initial release), but about lassitude. In effect, STROMBOLI was the first filmic expression of alienation, literally in the plot device of having Karin (played by Bergman) a displaced person, and metaphorically in scenes such as the one in which Karin is walking through the town and hears voices - she knows that they're talking about her, but she can't understand what they're saying. (The villagers speak in their Sicilian dialect, and Karin speaks in English; there is the scene where Karin redecorates the house, and the women come to stare, but when she invites them to come in, they just stare and skulk away.)

There are so many problems with seeing this film: it was cut and reedited and a voice-over narration was added for its initial American release; the Italian archival version is dubbed all into Italian. The actual version is a multi-lingual (English, Italian, Sicilian dialect) version which runs 107 minutes, with no narrator. In this version, the documentary aspects are fully integrated into the film.

STROMBOLI deserves to be seen in its full version, and deserves to be seen as the precursor of movies such as L'AVVENTURA, Resnais's Hiroshima MON AMOUR and Godard's UNE FEMME MARIEE.

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