greenery will bloom again
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greenery will bloom again (torneranno i prati) [ non - usa format, pal, reg. 2 import - italy ]
urltoken greenery will bloom again (torneranno i prati) [ non - usa format, pal, reg. 2 import - italy ]: claudio santamaria, camillo grassi, niccolò senni, andrea di maria, francesco formichetti, andrea benetti, domenico benetti, alessandro sperduti, andrea frigo, riccardo rossi, ermanno olmi, greenery will bloom again (torneranno i prati), greenery will bloom again, torneranno i prati: movies & tv
as the son of a wwi vet, ermanno olmi has a personal connection to the “war to end all wars. ” perhaps that’s why his “greenery will bloom again” is so reverential — reverential to the point of being frozen. beautifully lensed scenes in the snow - covered trenches of northern italy testify to the master’s 55 years in the [ … ]
a belated addition to the commemoration of ww1 centenary, ermanno olmi’s film greenery will bloom again (torneranno i prati), released late last year in italy, is - predictably enough - unlike any of the other film attempts made last year to remind the world of the one step into folly taken by mankind at the beginning of the last century which somehow .
as the son of a wwi vet, ermanno olmi has a personal connection to the “war to end all wars. ” perhaps that’s why his “greenery will bloom again” is so reverential — reverential to the point of being frozen. beautifully lensed scenes in the snow - covered trenches of northern italy testify to the master’s 55 years in the director’s chair, yet this unexpected return to feature filmmaking, set among a company of soldiers battered by austrian shelling, lacks the fullness of vision that graced “the profession of arms. ” local play and reviews in november were respectable, but “greenery” is unlikely to bloom outside scattered fests and retrospectives .
last year’s world war i centenary produced a number of commemorations and special events but few films. one filmmaker who found inspiration in a war his own father fought is ermanno olmi. showing once again that he is among italy’s most masterful and humanistic directors, he evokes the terror of combat in the short but effective greenery will bloom again (torneranno i prati). the nonsensical english title doesn' t do justice to this rigorous story and would sound far better in a more literal translation like “the meadows will return. ” completed last fall, the film enjoyed a brief release in italy and had some playdates in the us and uk before landing in berlin as a berlinale special. positive critical response could help bring it to more international audiences .
but somehow, next to the horrors served on a daily basis by every single audio - visual channel in the world, this impressively stylised plea to put a stop to the self - destructive madness humanity seems bent on, looks almost like civilized reminiscences of another time and place, which may seem almost exotic to a younger audience. as for the film’s motto, “war is an ugly beast that wanders the earth and never comes to a halt”, it suggests the acceptance of this madness as a kind of divine curse we’ll never be rid of. and the only thing that will not be affected is the nature that will bloom again, until the next war breaks out .
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auteur ermanno olmi, whose six decade career spans masterpieces like il posto and the tree of wooden clogs, again demonstrates he is among italy’s most masterful directors, as he evokes the terror of war in this short but stunningly effective and hypnotising film, reminiscent of terrence malick’s the thin red line .
the most powerful elements of “greenery” come from the contrast between the darkly lit trench interiors and the vast white landscape around them, punctuated by shells striking the unit’s position. at first just heard in the distant valley below, the mortar blasts inevitably hit much closer to the soldiers’ coordinates, and the staging of the explosions is particularly well handled (though the nonstop muted din of bursting shells in “journey’s end” created a more effective state of claustrophobic madness). inevitably, olmi fans will make comparisons with “the profession of arms, ” yet these are two very different conflicts, and the previous film offered a more complete picture of character and period .
the fuse is lit by the arrival of a major, who tells the feverish captain that he must follow a senseless, suicidal order. in the tense face - off that follows, the captain disdainfully strips himself of his own rank. the bunker is bombarded, and a retreat is ordered. the dead are buried in the snow, where they will wait for the spring thaw .
working, as he always prefers to, with non - professionals whose anonymous but eloquent features are more effectively striking than anything a famous face might convey, olmi’s austere restraint and slow pace underline the dread hovering every moment of the proceedings. a strangled scream of anguish controlled by a master, this is bound to be appreciated by audiences that will not be scared away by the theme .
for auds well versed in history, “greenery” not only brings no new insight, but also recycles the common perception of a senseless war in which officers sent foot soldiers out to die (in fact, there was a higher percentage of mortality in the officer class than among the rank - and - file). viewers with little background knowledge — the film is available to all high schools interested in screenings — are unlikely to get involved emotionally, largely because the characters mostly remain nameless, and while the pressures of a certain type of trench warfare are felt, the movie takes an entirely too respectful, slowed approach to truly grab the uninitiated .
olmi, who will soon be 84, may have never been a great storyteller, but very few filmmakers can hold a candle to his talent as a mood setter. he chose his locations in remote corners of the wintery alto adige mountains, shooting mostly at night, using for background the vast, spectacular stretches of snow - covered slopes, sprinkled with dark shadows of the pine forests spread over them, a pale moon and the occasional flares sent up life brief comets across the sky, the only lights shed over the scenery .
photographed by the trusty fabio olmi in such drained color that most (not all) of the shots seem to be in black and white, the story is set in a cold mountain bunker on the northeastern front, so close to the austrian trenches that the italian soldiers “can almost hear them breathe
. their outpost is buried in deep snow and the dirty, bedraggled men are forced to sleep on boards in the freezing cold .
though lacking the dazzling narrative complexity of his two previous anti - war films, the profession of arms about the fervent papal commander giovanni de’ medici and the chinese fantasy singing behind the screens, this harrowing drama follows the minimalist path to devastating effect. the tension rises palpably scene by scene. there is nothing new here, no great insights into the suffering of soldiers at the front that hasn’t been shown elsewhere, but the intensity of the central scenes is riveting, almost shocking .
the actors are so bundled up and swathed in wool that only their smudged faces are visible, yet each is highly individual and communicates a different reaction to the god - forsaken situation he finds himself in. many of the enlisted men are simple farmers; one is a miner. several share a bit of their lives in an aside to the camera. olmi’s screenplay foregoes the standard division of characters into good and evil, friends and foes, as when a neapolitan soldier stands on a hill at night singing piercing love songs for both armies to hear .
the film also avoids allotting easy blame. the relationship of deep friendship and respect between the bad - news major, played by the film’s only star claudio santamaria, and the exhausted captain (francesco formichetti) is surprisingly human. no voice is raised. when the major leaves behind his young, inexperienced lieutenant (alessandro sperduti) to take the captain’s place, it seems like the boy is being set up for disaster, but olmi doesn’t waste precious screen time on cliches. the film lasts just a concise 78 minutes .
the final tagline, “war is an ugly beast that wanders the earth and never comes to a halt, ” sums up the spirit of it all .
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torneranno i prati is a movie starring claudio santamaria, camillo grassi, and niccolò senni. a group of soldiers face the difficulty of war during one night at the italian front .
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a group of soldiers face the difficulty of war during one night at the italian front .
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in this seventy - two - minute feature, the octogenarian ermanno olmi depicts the physical and emotional torment of italian soldiers enduring combat in subterranean barracks beneath snow - packed fields during the first world war. his anecdotal narrative—based on tales he heard from his father, a veteran—sardonically reflects the randomness of death, as well as the unforeseeable displays of courage and outbursts of revolt at moments of crisis. life hangs on the strength of a telephone wire, rampant disease ravages esprit de corps, and the enemy’s espionage inspires paranoid anxiety. over - all, the movie offers little of the visual poetry and analysis that made olmi’s name, but, in a remarkable scene near the end, a literary soldier composes a letter to his mother and recites it directly to the camera, followed by a montage of archival footage. the sequence delivers an aesthetic shock, and launches the film beyond the narrow confines of the action. with an intimate simplicity, olmi evokes the decades of political and social upheavals throughout europe that followed the fragile peace, suggesting the colossal toll of all wars. his story points past the second world war and into modern times. in italian .
ermanno olmi delivers an overly reverential glimpse at trench warfare in the italian alps .
claudio santamaria, alessandro sperduti, francesco formichetti, andrea di maria, camillo grassi, niccolo senni, domenico benetti, andrea benetti, andrea frigo, franz stefani, igor pistollato, carlo stefani, giorgio vellar, roberto rigoni stern, davide rigoni, sam ursida, niccolo tredese, francesco nardelli, brais vallarin .
the film world has been distressingly sluggish in acknowledging wwi’s centenary, so while it’s encouraging to have someone of olmi’s stature address the horrors of the conflict, the result adds little to the list of superb pics — “the big parade, ” “wooden crosses, ” “all quiet on the western front, ” et al. — to deal head - on with the conflagration, and even falls short as a commemoration of the event. much of the problem here lies with the vet director’s dutiful approach, full of quiet voices and too - clean line deliveries, with every action and glance fraught with tragedy .
shooting was done in the mountains of the veneto’s altopiano, site of major military action and also the setting for francesco rosi’s superior “uomini contro” (though that pic was lensed in yugoslavia). a fresh snowfall temporarily halts military action as soldiers, in a stunningly composed scene, dig out the supply trenches. their sympathetic major (claudio santamaria) receives word that communication lines have been tapped by the enemy, who now know their whereabouts. orders come from hq that new wires need to be laid, though it’s a suicide mission, since snipers are targeting anyone going beyond the trench .
reviewed at berlin film festival (berlinale special), feb. 11, 2015. running time: 76 min. (original title :
torneranno i prati
)
production: (italy) a 01 distribuzione release of a cinemaundici, ipotesi cinema production, with rai cinema, in association with banca popolare di vicenza, renato ragosta team holding, nonino distillatori, in partnership with edison. (international sales: rai com, rome .) produced by luigi musini, elisabetta olmi. coproducer, paolo del brocco. executive producer, elisabetta olmi .
crew: directed by ermanno olmi, in collaboration with maurizio zaccaro. camera (color, 35mm - to - hd), fabio olmi; editor, paolo cottignola; music, paolo fresu; production designer, giuseppe pirrotta; costume designer, andrea cavalletto; sound, francesco liotard; sound designer, giuseppe pirrotta; assistant director / casting, alessandra gori .
with: claudio santamaria, alessandro sperduti, francesco formichetti, andrea di maria, camillo grassi, niccolo senni, domenico benetti, andrea benetti, andrea frigo, franz stefani, igor pistollato, carlo stefani, giorgio vellar, roberto rigoni stern, davide rigoni, sam ursida, niccolo tredese, francesco nardelli, brais vallarin .
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the legend of the holy drinker (la leggenda del santo bevitore) (la légende du saint buveur) [ non - usa format, pal, reg. 0 import - italy ]
what a lovely surprise (ma che bella sorpresa) [ non - usa format, pal, reg. 2 import - italy ]
language: italian (dolby digital 5. 1), english (dolby digital 5. 1 )
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born in 1931 in lombardy, olmi is a much - awarded italian film director. his film the tree of wooden clogs (l' albero degli zoccoli) was awarded the palme d' or at the 1978 cannes film festival. in 1988, the legend of the holy drinker (la leggenda del santo bevitore) won the golden lion at the venice film festival .
claudio santamaria delivers an intense and subtle performance as a major who arrives with bad news for a group of bedraggled soldiers in a bunker on the north - eastern front, close to the austrian trenches. so close, in fact, that when a neapolitan soldier stands on a hill at night singing piercing love songs, both armies can hear. the outpost is buried in deep snow and the dirty, sickly men are forced to sleep on boards in the freezing cold. the major’s instructions for a senseless suicide mission causes an unthinkable face - off. the tension rises palpably sceneby - scene in this work made with devastating simplicity and painful realism; a poignant memorial to italian soldiers .
copyright 2015 © lavazza italian film festival. previous festivals | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2002 | 2001 | 2000 presented by palace cinemas website by simon lawrence
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olmi’s austere restraint and slow pace underline the dread hovering every moment of the proceedings .
inspired by la paura (the fear), a novel written by federico de roberto in 1921, these brief recollections of moments in a war that was fought mainly in the trenches, replaces the sound and fury normally associated with the genre, focusing instead on the intense fear, loneliness, misery and darkness of soldiers stuck like moles in their underground fortifications, at the mercy of enemy snipers and of heavy artillery and never allowed them to stick their noses into the open, and of the orders coming from their own headquarters, for whom life and death are merely a matter of strategy and statistics .
no doubt a breathtaking landscape, but the heavy silence reigning over it inspires anguish and terror rather than pastoral admiration. the soldiers trapped underground are helpless pawns in a game they have not started, whose reasons they do not perceive, but whose results promise to be fatal, the fatigue, fear and despair written on faces that are barely visible in the murky light. no real plot guides the script, just a series of events that could and probably did take place in the trenches, in this or any other sequence, compressed into just one night .
a sniper puts an early end to an attempt to go out of a trench; heavy shelling gets closer and closer to the shelter until it is hit, leaving behind destruction and death, incidents that are not necessarily tied together either by specific characters or a story line, just brief scenes out of a major carnage, a war drained of all glamorous vestiges of glory, leaving behind only the pain, suffering, desolation and despair it generates .
the three - day weekend gross (excluding previews) of july 6 - 8 was £6. 2m
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war is an ugly beast that wanders the earth and never comes to a halt” toni lunardi, shepherd we are on the north - eastern front, following the last bloody battles of 1917 on the altopiano. in the film, the story unfolds in the space of one night. events follow one another without any kind of pattern: at times the waiting goes on so long that fear has you counting the minutes as they pass until the moment comes when it’s your turn. and subsequently, the peace of the mountains becomes a place where men die. everything in the story told in this film really happened. and since the past belongs to memory, everyone can recall it to fit in with their own feelings .
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we are on the north - eastern front, following the last bloody battles of 1917 on the altopiano. in the film, the story unfolds in the space of one night. events follow one another without any kind of pattern: at times the waiting goes on so long that fear has you counting the minutes as they pass until the moment comes when it’s your turn. and subsequently, the peace of the mountains becomes a place where men die. everything in the story told in this film really happened. and since the past belongs to memory, everyone can recall it to fit in with their own feelings .
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greenery will bloom again ( italian : torneranno i prati ) is a 2014 italian anti-war film written and directed by ermanno olmi . set in the trenches of the asiago plateau , during world war i , it is loosely based on the short story la paura ( 1921 ) , by federico de roberto . it was screened in the berlinale special section at the 65th berlin international film festival . the film received eight nominations at the 2015 david di donatello awards , including best film and best director . 
greenery will bloom again (italian: torneranno i prati) is a 2014 italian anti-war film written and directed by ermanno olmi. set in the trenches of the asiago plateau, during world war i, it is loosely based on the short story la paura (1921), by federico de roberto. it was screened in the berlinale special section at the 65th berlin international film festival. the film received eight nominations at the 2015 david di donatello awards, including best film and best director.
greenery will bloom again (italian: torneranno i prati) is a 2014 italian anti-war film written and directed by ermanno olmi. set in the trenches of the asiago plateau, during world war i, it is loosely based on the short story la paura (1921), by federico de roberto. it was screened in the berlinale special section at the 65th berlin international film festival. the film received eight nominations at the 2015 david di donatello awards, including best film and best director.