Word: giorgio
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...welcomed into the grounds because of their exclusion from the Ferrara tennis club under the new "Jewish laws." Their mood is carefree, nevertheless, and is echoed by that of their hosts, the blond ice-maiden Micol (Dominique Sanda), and her sickly brother Alberto (Helmut Berger). Among their guests are Giorgio (Lino Capolicchio), a childhood friend, and Malnate (Fabio Testi), a gentile visitor from Milan. Wrinkling her nose at Malnate's Fascist predilection for the workers of Ferrara, Micol returns his appraising once-over with "you're too much the industrious Lombard--besides, you're too hairy." Next to Malnate...
...living artist enjoys a more bizarre reputation than the Italian painter Giorgio de Chirico. Up to 1918, he turned out a body of work that set him firmly among the masters of European modernism. His "mysterious objects," moonstruck piazzas and tilting, empty colonnades fascinated the Surrealists and became one of the inspirations of their movement. René Magritte and Salvador Dali were both De Chirico's debtors; Yves Tanguy resolved to be a painter only after seeing an early De Chirico in a dealer's window in 1923. André Breton, the pope of Surrealism, hailed...
Garden is a quietly touching, achingly human requiem for the passing of a social order-one of those rare films that can make effective personal drama out of political chaos. Expertly adapted from Giorgio Bassani's autobiographical novel, the story deals with two Jewish families in Ferrara in the late 1930s, when Fascism was cresting all over Italy. The Finzi-Continis are patricians who live in a spacious estate behind high walls, heedless and ever so slightly disdainful of the tide outside that will inexorably engulf them. The other family, never named, is aware of the political upheaval...
Subtle Moments. What binds the second family to the Finzi-Continis, besides Jewishness and passivity, is their son Giorgio's infatuation with young Micol Finzi-Contini. He longs for her as a Fitzgerald hero might long for some always unattainable girl. Micol, who studies Emily Dickinson ("an old maid like me"), keeps Giorgio at a delicate distance, tantalizing him, finally turning him into a voyeur...
...Sica and Cinematographer Ennio Guarnieri indulge themselves a little in their constant use of hazy color. It gives the film a patina of sentimentality that is at odds with its controlled drama. De Sica also never makes fully clear what bearing the Giorgio-Micol love story has on the film's central historical tragedy...