Word: micol
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Dates: during 1970-1979
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...director builds for his story. The tennis players, most of them Jews, are 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...
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...
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...
...Magnificent Ambersons, De Sica presents the Finzi-Continis in every dimension. Enamored of their elegance, he is also obviously moved by the poignancy of their decline. But he suggests, again like Welles, that they are victims of personal as well as historical corruption An incestuous relationship between Micol and her brother Alberto is hinted...
...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...