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Movie Review:
Il
Postino
Review by Katharine
E. Monahan Huntley
IL
Postino recounts the story of a diffident postman and a world
renown poet, set against a backdrop of conflicting political, societal,
and spiritual ideologies (objective story domain of psychology; os
concern of conceiving). Mario, the main character, is the
son of a fisherman existing on a slow, picturesque, Italian island.
The opening shot depicts this sad eyed soul turning over a postcard
from America--a land he equates with impossible dreams. Mario lives
in the moment (mc concern of the present), almost in a
state of arrested development--yet it is his immaturity edged with unnamed
longings that charms us. Mario is a do-er, but he is certainly
no action figure. When faced with a problem, his approach is
to irritate, making him impossible to ignore. As one of the few literate
persons on the island (mc domain of universe), the accepted
(os problem) way of life does not appeal to him--and with his
father's tacit permission (os issue) he takes on the position
of a postman with only one addressee.
Pablo Neruda, the
obstacle character, is a Communist exiled from Chile for articulating
his views (oc problem of proaction) despite the consequences
(fixed state of mind). The Italian government has decided to:
"Suspend measures against Neruda requested by the Chilean government"
(driver of decision), and allow the poet to remain on Mario's
beautiful, yet economically depressed (os counterpoint of deficiency),
island.
The postman is a
true romantic, entranced by how the poet and his wife ". . . call
each other 'amor.'" He begins to ingratiate himself with Neruda
to learn the language of poetry, using his male mental sex to
strike up a rapport. Mario buys the poet's books and recites Neruda's
words to evidence his seriousness. Thus, in spite of himself (oc
concern of conscious), Pablo bemusedly enters into a maestro/studente
relationship with his postman (ss domain of physics; concern
of learning).
Mario's sudden attraction
(mc issue) to the local beauty, Beatrice, accelerates his and
Pablo's subjective story throughline. Mario demands of his teacher
to write a poem to impress his intended (ss catalyst of preconditions),
a request Pablo refuses. Undaunted, Mario plagiarizes his poetry (mc
direction of proaction), and wins the fair barmaid's heart, much
to the fury of her aunt who has forbidden the courtship (os issue).
Pablo is mollified
by Mario's words: "Poetry doesn't belong to those who write it,
but by those who need it," and with the priest's permission (os
issue), stands up for the postman at his wedding to Beatrice. During
the celebration, Pablo and Matilde receive notice that the Chilean government
has lifted the ban (os issue) and the poet decides to immediately
return home, after promising Mario he will stay in touch.
Time passes with
no word, and certain doubts (oc unique ability) about
the friendship is what finally compels Mario to start (mc
growth) to create his own poetry. He writes a song for the sea and
dedicates it to Pablo Neruda. Mario is invited to read the poem at a
Communist demonstration. He has matured (resolve of change) and
is thrilled (judgment of good) to express his own metaphors to
the world.
Years later Pablo
and his wife return to the island. It has remained unchanged. Politicians
have not fulfilled their promises and the inhabitants have made no protest
(outcome of failure; os solution of nonacceptance).
The poet learns that Mario had died in the demonstration--melancholic,
he strolls the white sands along the sea and reminisces (oc
benchmark) under the unrelenting sun.
That Massimo Troisi (Mario) died the day after filming lends a tragic
poignancy to IL Postino. The film has a meandering feel, attributed
to its vague optionlock and rather abstruse story goal.
It is, however, an unusual storyform (at least at this point
in time) which makes it most interesting to analyze.
[See
Il Postino Storyform for the Dramatica story engine settings.]
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