Padre padrone (1977)

Directors:

Paolo Taviani
Vittorio Taviani

Writers:

Gavino Ledda (book)
Paolo Taviani (writer)

Release Date:

28 septiembre 1977 (Sweden)

Genre:

Drama

Plot:

The true story of the life of Gavino Ledda, the son of a Sardinian shepherd, and how he managed to escape his harsh...

Plot Keywords:

Bestiality | Emigration | Illiteracy | Rural | Sheep

Awards:

Nominated for BAFTA Film Award. Another 6 wins

Comentarios de los usuarios:

superior simultaneously gutwrenching and funny look at Sardinian rural life

Cast

Omero Antonutti	...	Father
Saverio Marconi	...	Gavino
Marcella Michelangeli	...	Mother
Fabrizio Forte	...	Young Gavino
listado alfabético del resto del reparto:
Pierluigi Alvau
Fabio Angioni
Giuseppino Angioni
Giuseppe Brandino
Marino Cenna	...	Young shepherd
Mario Cheri
Giuseppe Chessa Perle
Domenico Deriu
Marina D'Onofrio
Pietro Paolo Fauli
Franca Floris
Mario Fulghesu
Gianni Garruccio
Antonio Garrucciu
Patrizia Giannichedda
Roberto Giannichedda
Vincenzo Giannichedda
Pietro Giordo
Antonello Gloriani
Gavino Ledda	...	Himself
Gavino Loriga
Angelo Marras
Costanzo Mela
Stanko Molnar	...	Sebasiano
Nanni Moretti	...	Cesare
Domenico Morganti
Luigi Muntoni
Gianfranco Panai
Giuseppina Perantoni
Cristiana Piazza
Matteo Piu
Maria Immacolata Porcu
Cosimo Rodio
Anna Lucia Sanna
Marco Sanna
Stefano Satta
Umberto Spada
Mario Spissu
Salvatore Stangoni
Marco Unali

También conocida como:

Father and Master
My Father My Master

Duración:

USA:114 min | UK:113 min

País:

Italy

Idioma:

Italian | Sardinian | Latin

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1

Sonido:

Mono

Clasificación:

Finland:K-16 | Sweden:15 | UK:18 | Singapore:PG

Company:

Cinema S.r.l

Movie Connections:

Referenced in Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence (2007)

superior simultaneously gutwrenching and funny look at Sardinian rural life

Despite the other good comments here, I was really shocked at the number of others who put in their two cents who hated this movie. I saw it in a theater shortly after its original release, then several times on video in the late eighties. I hadn't watched it again until a couple of nights ago, mainly as a reaction to seeing some of the imbecilic remarks here. It's scary because after seeing the film again I realize that Hollywood has alot to answer for in manufacturing twisted junkfood audience expectatations with their atrociously slick homogenization of already shallow stories, push button audience emotion manipulation... oh, well, you get the idea. People fed a constant diet of McDonalds don't recognize a good steak when they bite into one.

PADRE PADRONE integrates nearly documentary footage seamlessly with a very realistic, often funny, often poignant but never manipulative depiction of what it's like to grow up the first born son of a nearly impoverished Sardinian shepherd. The beatings the boy receives from his tyrannical father are convincingly shown but in such a way that, especially if you've ever been on a set or involved in filmmaking, you can see that the punches and slaps could be easily pulled without the audience knowing it. The boy's struggle as he grows into a man to express himself and learn how to read and write, no matter how fierce his father's opposition, is truly inspiring because it is so matter-of-fact, so intense but without a shred of the narrative tricks (such as treacly music cues) that Hollywood would pull to needlessly manipulate cheap audience emotion.

There's one scene right near the end just before the young man leaves home again for the final time where he has to go to retrieve the family suitcase from under his parents' bed. His angry, powerless dad sits on the edge as his son gropes under him for the suitcase. The two have already come to blows and life-threatening words. Suddenly the young man sinks his head against his father's leg in a brief second of weary contradictory affection. His father instinctively moves his hand to, at first, comfort the boy. But before his fingers can even touch his son's hair he is possessed by temper and raises his hand to strike him instead. However, we don't see if he strikes him or not because the Tavianis cut to black then we next see the son leaving town, going on to his destiny as a linguist and bestselling writer. This simple scene is one of the most unbearably moving in any film from the last thirty years and indicative of the general excellence of the entire movie. The Taviani brothers have made many other good films from ALLONSANFAN with Marcello Mastroianni, through this, through NIGHT OF SHOOTING STARS and the excellent, 3 hour long anthology of stories by Pirandello, KAOS.