Thanks for the memories!

Please don't spend money on this.

Highly Overrated But Still Good

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

Titled "I Compagni" (The Comrades), 1964 American release of this controversial Italian film was as The Organizer, no doubt to avoid an anti-Communist reviewer backlash. While Marcello Mastroianni's Professor Sinigaglia endures some embarrassing indignities, he overcomes them. Working-girl refugee Niobe (wonderfully portrayed by Annie Girardot) helps him both emotionally and nutritionally. This is a wonderful film about not giving up on solidarity. I hold it in higher esteem than Norma Rae, one of the very few other films about working people organizing. The film suffers from being viewed as a not-so-funny comedy because of its over-individualized title. For many years, it was difficult to get a print for showing. Bosley Crowther favorably reviewed it for New York Times 7 May 1964. There is a review in Film Quarterly, Autumn 1964, which I have not seen.

This is one of those great foreign films from the 60's. The plot synopsis may make it sound dismal, but on the contrary it is full of heart and humor. These are real people, with all their quirks and stupidities and rich relationships with one another. There is an accurate, full portrayal of the human condition, and an acceptance of what that means, that is rare to non-existent in movies today.If you like films that put you into another world for a couple of hours, you've got to see this. The late 19th century Northern Italy textile factory is amazingly realized. The black & white cinematography is gorgeous, and the acting is convincing all around.Mastroianni is a personal favorite, and this is a terrific role for him: very unlike his usual suave, modern, urban characters.This film is a masterpiece. It's a shame it is not out on DVD.

Mario Monicelli's wonderfully full portrait of an early workers' strike at a Turino textile factory (circa 1890) is not only a great period drama, but a warm, if ultimately tragic human comedy in the great Italian tradition. Great performances all around (Mastroianni, Giradot, and a young River Phoenix look-a-like named Franco Ciolli, whatever became of him?) help make this labor drama the movie MATEWAN, MOLLY MAGUIRES and GERMINAL all tried to be.

I Compagni is memorable. When we consider why films move us, affect our lives, indeed, create us to some extent, we think of films such as this. This is not just an artistic triumph for all its filmmakers, but also a moving document of humanity. We take measure of Mastroianni not by his range of performance but by his deep involvement. Like France's Charles Aznavour has his heart in his song, Marcello Mastroianni is fully engaged in his performance. As Professor Sinigaglia in I Compagni, Mastroianni is at his best form. The source of his intensity is not his surface emotion, but the depths of his soul.