Movie hue and cry
![movie hue and cry movie hue and cry](https://img.123moviestv.net/xxrz/1200x600/251/84/04/8404e19e902d29a40dbdeaa8a3c4cbd4/8404e19e902d29a40dbdeaa8a3c4cbd4.jpg)
![movie hue and cry movie hue and cry](https://www.artofthetitle.com/assets/sm/upload/11/qs/fj/gg/hac_theend.jpg)
I totally share Ciro’s point of view: Rocco is as guilty as Simone, both are linked in the tragedy. Doesn’t he shout it himself at the end?Ĭiro sums up the essential theme of the film’s morality when he explains to Luca that Rocco is a saint, that he forgives everything, always, and that’s exactly what he shouldn’t have done with Simone. In the end, he’s as guilty as his brother. Failed boxer, unhappy lover, Simone sinks into delinquency and crime: theft, rape, prostitution and murder.Įvery time, Rocco covers him and pays for him. A landscape of violence where the infinite tenderness of one and the bestial brutality of the other are opposed. Thus, through the prism of this a priori Manichaean history, the director explores a plurality of social and political themes: the uprooting of a family from the south to the north of Italy, the living conditions of the industrial proletariat, the ambition, family honour and the hope of social elevation. However, to reduce “Rocco and his brothers” to this opposition between the two brothers would be to ignore Visconti’s cinematographic mastery. As such, a terrible scene censored and reintegrated into this new version is the turning point of the film. But Rocco refuses any confrontation with his brother. She will finally fall in love with his brother Rocco, the same one who will be much more skillful with gloves in hand on the ring, leading Simone, jealous, into a black rage. He falls in love with Nadia (bright Annie Girardot), a 25-year-old prostitute who will never love him.
#MOVIE HUE AND CRY PROFESSIONAL#
Simone becomes a boxer at the local club and aims for a professional career. They end up in a slum, in the basement of an ABR building.Īll the brothers are looking for work: Simone (excellent Renato Salvatori), Rocco (Alain Delon, touched by grace), Ciro and Luca (both more discreet). They plan to be accommodated by the in-laws, who refuse for lack of space. The starting point of the story is relatively simple: To escape poverty, a widow and four of her five sons move to Milan, where the fifth has just got engaged to Ginetta (Claudia Cardinale), a middle-class girl. This long fresco tells us about the difficulties faced by the members of this family of immigrants from the interior who have fled Basilicata and the psychological changes this causes in them. Fundamentally rooted in Italian neo-realism, “Rocco and His Brothers” tells an extraordinary family tragedy – reminiscent in some aspects of Coppola’s “The Godfather” – against the backdrop of a rural exodus of a family from southern Italy to the lure of the Lombard capital. Here, closer to Vittorio de Sica, he is interested in the misery of the people of the Mezzogiorno in the post-war period. In his other famous opus released two years later, “The Leopard”, Visconti will describe the decline of the Sicilian nobility, replaced by an affairist and trivial bourgeoisie.