Word: domenico
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...bare bulb blazes suddenly. A boy of 17 winces in his sleep, begins to wake up, decides not to. Today, he remembers uneasily, is the day when childhood ends and Life begins, the day when he must go to the city to apply for his first job. "Hey Domenico!" his father hollers. "Hush, let him sleep a little more," his mother murmurs. The light goes out. In the darkness slowly the boy opens his big, gentle, worried eyes...
...look he gives the camera might just possibly fail to affect the personnel manager of a Carthaginian salt mine. It will certainly make every warmhearted moviegoer care and care deeply what happens to Domenico-and to many more than Domenico. For in this remarkable first film, the work of a 32-year-old Italian named Ermanno Olmi, Domenico is the surrogate of every mother's son who ever sold his labor for a sad little living. With quiet poignance, with gay and gentle humor, with gradual but ultimately pulverizing irony, the director investigates the well-known social process that...
...Domenico (Sandro Panzeri) is natural office fodder. He is shy, willing, anxious to please. He comes from a poor family and all he dares to ask of life is "un posto sicuro"-a steady job. And, if possible, a fancy belted raincoat with a little cap to match. As he enters the big office building, he stares as Alice stared at Wonderland. Doors beyond doors, and behind each of the doors a new life. Trembling, he opens one of them. Sure enough, a job is waiting for him; he is hired as an office boy in the Technical Section...
...lucky ones," Domenico thinks, and Director Olmi does not explicitly contradict him. He simply watches the boy put on his uniform, sit at his desk, run an errand here and an errand there, find out how bosses talk to office boys ("Will power works miracles!"), pick up some wisdom at the water cooler ("Never trust a man with two nostrils"), peer into his first pay envelope, start a little office romance (Loredana Detto), survive a big office party, inspect a dozen dismal, petty employees who function as industrial implements but do not live...
...troop maneuvers and barefoot peasantry. Then they turned to the subject matter that early French impressionism grew fat upon: landscapes populated by rocks and sheep, woodsmen warming in a shack, wheat harvests, the faces of peasants-all done in the subdued tonalities of their dulcet quattrocento ancestors, Fra Angelico, Domenico Veneziano and Piero della Francesca. This week in Manhattan, a show of 92 works goes on view at the American Federation of Arts Gallery; to many viewers, it will be a pleasant new-found island (see color) in the apparently empty seas of Italian art between the baroque period...