This review originally appeared on the Chicagoland Bicycle Federation’s “Roll Film” movie review site (http://www.biketraffic.org/content.php?id=219_0_6_0). Each film was also reviewed by my CBF colleague, Greg Borzo, who focused more on the bike content.
IL POSTINO
4 Wheels
It is tempting to describe Mario, the titular postman of the 1994 Italian film, Il Postino, as simple. On one level this is accurate. Mario knows little beyond his Italian island fishing village. Concepts like poetry and politics are novel to him. Unlike most of his fellow villagers, however, Mario is a dreamer. Once exposed to poetry and politics, he embraces them fully. He's also a pragmatist. If becoming a postman is the best way to meet an internationally known poet, he'll be a postman. If poetry is the best way to win the love of the local beauty, he'll be a poet.
Mario defies simple classification because he is portrayed by Massimo Troisi with full three-dimensional humanity. Unfortunately, any discussion of Il Postino must also inform that the 41-year-old Troisi died of heart failure hours after filming wrapped. That he postponed treatment until he had completed this role hints at what an unforgettable performance he delivers. In many ways his mannerisms are reminiscent of a young Robert DeNiro, except that his performance is actually rather quiet and internal. Regardless, Troisi dominates every frame of the film.
As Mario is both an idealist and a pragmatist, Il Postino's use of the bicycle combines two separate traditions in bicycle films. Delivering the mail to the famous communist poet, Pablo Neruda, is central to Mario's goals and requires the use of a bike. This follows the tradition of bicycles providing a means of achieving success in such films as The Bicycle Thief, Beijing Bicycle, and City of God. More often bicycles represent the childlike innocence that Mario embodies (sometimes). We see this theme explored in movies as diverse as E.T. the Extra-Terrestrial, I ♥ Huckabees, or Pee-wee's Big Adventure.
In one of my favorite scenes of Il Postino, the postman and the poet stand on a mountain looking out to sea. Mario, holding his bike, asks Neruda to write him a love poem so that he can woo the beautiful Beatrice. It's a completely inappropriate request, but Mario's logic is so innocent and inspired—since Neruda's poetry lessons gave him the confidence to fall in love, it is now Neruda's responsibility to help him win Beatrice's heart. I can't help but think that it's not an accident that the bike is prominently displayed throughout this scene.
Philippe Noiret's performance as Neruda should not be ignored despite the extraordinary achievement of his co-star. Noiret invests the older poet with both humor and gravitas. Listening to Neruda try to explain metaphors to Mario is more entertaining than most Hollywood blockbusters.
I really like the message of this film. It not only makes the argument for poetry (and by extension, the arts) as an important tool in life, but it also says the arts are not just for artists. If poetry can change the life of a simple peasant postman, then can't poetry also inspire the rest of us, regardless of our station in life?
IL POSTINO
4 Wheels
It is tempting to describe Mario, the titular postman of the 1994 Italian film, Il Postino, as simple. On one level this is accurate. Mario knows little beyond his Italian island fishing village. Concepts like poetry and politics are novel to him. Unlike most of his fellow villagers, however, Mario is a dreamer. Once exposed to poetry and politics, he embraces them fully. He's also a pragmatist. If becoming a postman is the best way to meet an internationally known poet, he'll be a postman. If poetry is the best way to win the love of the local beauty, he'll be a poet.
Mario defies simple classification because he is portrayed by Massimo Troisi with full three-dimensional humanity. Unfortunately, any discussion of Il Postino must also inform that the 41-year-old Troisi died of heart failure hours after filming wrapped. That he postponed treatment until he had completed this role hints at what an unforgettable performance he delivers. In many ways his mannerisms are reminiscent of a young Robert DeNiro, except that his performance is actually rather quiet and internal. Regardless, Troisi dominates every frame of the film.
As Mario is both an idealist and a pragmatist, Il Postino's use of the bicycle combines two separate traditions in bicycle films. Delivering the mail to the famous communist poet, Pablo Neruda, is central to Mario's goals and requires the use of a bike. This follows the tradition of bicycles providing a means of achieving success in such films as The Bicycle Thief, Beijing Bicycle, and City of God. More often bicycles represent the childlike innocence that Mario embodies (sometimes). We see this theme explored in movies as diverse as E.T. the Extra-Terrestrial, I ♥ Huckabees, or Pee-wee's Big Adventure.
In one of my favorite scenes of Il Postino, the postman and the poet stand on a mountain looking out to sea. Mario, holding his bike, asks Neruda to write him a love poem so that he can woo the beautiful Beatrice. It's a completely inappropriate request, but Mario's logic is so innocent and inspired—since Neruda's poetry lessons gave him the confidence to fall in love, it is now Neruda's responsibility to help him win Beatrice's heart. I can't help but think that it's not an accident that the bike is prominently displayed throughout this scene.
Philippe Noiret's performance as Neruda should not be ignored despite the extraordinary achievement of his co-star. Noiret invests the older poet with both humor and gravitas. Listening to Neruda try to explain metaphors to Mario is more entertaining than most Hollywood blockbusters.
I really like the message of this film. It not only makes the argument for poetry (and by extension, the arts) as an important tool in life, but it also says the arts are not just for artists. If poetry can change the life of a simple peasant postman, then can't poetry also inspire the rest of us, regardless of our station in life?
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