Word: giorgio
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IGNORING the Milanese playboy, Micol lavishes her attentions on Giorgio. As they stroll together through the garden, they people the woods and fields with remembrances of things past; glimpses of the two as children show Giorgio even then a shy admirer of the "private pupil" Micol, while she plays the seductress in their game of communication through glances. A sudden downpour dispells the sunshine of their memories, and taking refuge in an old carriage, their mode of contact threatens to become physical. But Giorgio is too slow in making this transition from childhood innocence. Paralyzed by the enticing new light...
Realizing that a relationship between them is impossible, Micol flees the tardy growth of Giorgio's passion by going to Venice to finish her studies. De Sica allows Giorgio similar flirtations with escape, when things start to fall to pieces for him. Repeatedly rejected by Micol, he takes refuge both in his work, as well as in his attempt at a physical change of scene by visiting his brother at the politically aware and apprehensive University of Grenoble. No matter. De Sica always keeps his characters emotionally within the confines of the garden. Giorgio cannot avoid the unprecedented implications...
...GIORGIO is not blind to the danger of remaining in such a tarnished paradise, but even the warning signals encountered abroad cannot argue with a set of emotions that are still back in the garden. He must follow the lines of action that form the framework of De Sica's subjectifying microcosm. These lines continue to bind his characters to the dual power of ethnic identity and omnipresent past. His young people run away and return, reject and make up, but the two dominant forces always narrow the scope of De Sica's drama to his claustrophobic universe, by holding...
...Giorgio the struggle to break loose is intense, but his will-power finally breaks down, and late one night he climbs over the garden wall, only to find Micol and his friend Malnate asleep together in the garden-house, where he has spent so many happy hours, where he has spent so many happy hours. Malnate is drafted soon afterwards and sent off to die in Russia; the police pick up more and more Jews; finally they drive their black limousines over the bicycle paths of the garden of the Finzi-Continis. When they emerge again it is to carry...
...epitomized by Berger's own performances in Visconti's The Damned, and Bertollucci's The Conformist. While society is being corrupted outside the garden, the self-contained life-style perpetuated by the Finzi-Continis on the inside is rotting at the core. Raised as a bluestocking, Micol quips to Giorgio that she's writing her thesis on Emily Dickenson, "a dried-up spinster like me." Minutes later, in giving him a mock botany lesson, she points to a tree she imagines planted by Lucrezia Borgia. The connotations of that name reveal in her no dried-up spinster, but the malevolence...