So haben wir gelacht

Set in late '50's, early '60's. Brave emigrants from impoverished Sicily make their way in industrial Turin. This movie gives you time with a good-hearted Catanese, Giovanni (Enrico Lo Verso), a man who loves desperately, adoringly. The object: his teenaged brother Pietro (Francesco Giuffrida) who is urbane while Giovanni is elemental.

Giovanni's love and personal honor require that he believe no ill about Pietro. The older brother works like an ox to shield his Pietro-on-a-pedestal from the harsh world of manual labor, to give him better lodgings than he himself enjoys and to keep him in school (where Pietro actually is an inveterate hookey-player and a bored, listless daydreamer).

Though Pietro is detached he nevertheless feels guilt for his deceptions and he loves Giovanni for his sacrifice and natural goodness. ("Giovanni is far too good," he says to the whore-waif his older brother has taken under his protection. "He loves everybody").

But while the facile and literate Pietro drifts, the illiterate but intelligent Giovanni makes useful friends, exploits opportunities and rises in life.

Always Pietro remains at the center of Giovanni's heart. And one night Pietro is given the opportunity, finally, to repay Giovanni's selfless devotion.

If there is a "revelation" in this film, it is near the end when we see that the adoring Giovanni has an unexamined, unquestioned faith that his Pietro has the same devotion to him. As a given, he believes that brotherly sacrifice is a two-way street. The immense decision that his younger brother has made against himself and for Giovanni is merely the kind of thing brothers do for eachother. In a horrifying moment Giovanni opens to us: his great love is unselfconsciously, blanketingly possessive, devouring.

Palermo-born Lo Verso is a great actor. That his beautiful, movingly expressive face is not world-famous is a misfortune. But he is only forty now (early thirties in "Cosi Ridivano"). There is time. Jim Smith-----------------------

What a strange film! An immersion into a worker's life in Turin, and more particularly contrasting the lives to two brothers, the older, less educated, devoted obsessively to the idea that his younger sibling is going to excel, and the audience seldom clear about what the strange, younger lad is up to.

The Way We Laughed is loaded with exciting Italian locales, flirts briefly with political movements, but the focus is always on what's going to happen to the relationship of these very different men. In no way a cheerer-upper, and not exciting in any conventional way, the performances are superb and the narrative compellingly mysterious if the viewer has the patience for scenes that attempt to accurately capture the process of decision making, to the way relationships often work.

A tower of strength in the contemporary Italian terrain, Gianni Amelio's Venice Golden Lion winner THE WAY WE LAUGHED (my second entry after TKEY KEYS TO THE HOUSE 2004, 7/10), his sixth feature, is an emotion-charged story at the end of 50s, Giovanni (Lo Verso), an illiterate Sicilian young man, arrives in Torin to reunite with his young brother Pietro (Giuffrida), who is studying in high school.

Captioned the chapters by years and key words, the film infallibly circles around the two brothers, about their incompatible interrelation, which can be approximately summed up as follows, Giovanni unyieldingly insists that Pietro should finish his study and become a teacher, to fulfil a dream he is unable to pursue, as if this means the whole world to him, while Pietro, under such pressure to excel in the class, has to live in the fear that he might fail to live up to his dear brother's expectation, which establishes a deep discord between them. Life rarely goes according to one's wishful blueprint, however Amelio's meticulous endeavour, sometimes perilously close to mushy and over-indulgent, is to testify that blood is thicker than water, no matter what, even you have to murder a person, there is a silver lining awaits you.

Attentively restoring a retro setting of a period ripe with absolute poverty and blatant opportunism, Amelio opts for an alternative to green-light the success of the uneducated- but-determined money-grabber other than the younger-but-intellectual generation, eventually it is the latter's voluntary sacrifice saves the former from going down to the prison, so that the former can secure his hectoring business and start a genuine Italian family, with a sincere guilt compelling him to make up for the latter, but in the coda, after a heavy-handed device to sabotage a formal farewell ceremony, it leaves us wonder, how the two brothers have changed internally during the time-span, the same four-elephants-in-a- fiat joke caps the film, yet, they have become more distant from each other both physically and mentally.

Enrico Lo Verso, the leading actor of Amelio's more well-received works (THE STOLEN CHILDREN 1992 and LAMERICA 1994), greatly elicits Giovanni's devoted affection towards his beloved brother, addresses the most cringe-worthy dialogue (in Sicilian dialect, sounds like an utterly different language from Italian) with unaffected candour. Giuffrida, the young actor, was only 17 during the filming, is a few notches below by comparison, his Pietro is less sympathetic and his emotional spectrum is more intangible to pin down.

Many a time, the chapter-to-chapter cohesion fails to be fluent, viewers are prone to feel disconnected and confused about the happenings, for example, Giovanni's intentional tantrum in Pietro's school is introduced abruptly since Amelio coyly refuses to lay bare what has happened to Pietro, similarly, from his disappearance to a miraculous triumph aided by a private teacher, Pietro's transformation is bluntly conjured up without any weight. For what it's worth, THE WAY WE LAUGHED feels a tad undeserving of its garland, nostalgic, mawkish and a run-of-the-mill drama falls flat on its face.

"The Way We Laughed" is plaintive, unhappy drama about two Sicilian brothers who migrate to Turin, Italy in the late 50's where the older and somewhat duller brother toils as a laborer so his younger brother can reap the benefits of school. This very Italian film peers deeply into the brotherly relationship as it skips through time and circumstance ultimately revealing the true character of the principals. Slow moving, methodical, and two hours long, this film will likely test the patience of most American audiences, especially those less familiar with the subtleties of Italian culture, who may question whether the payoff is worth the wait though the talent of an able auteur and cast are above reproach. (B)

The Way We Laughed works best as a study of familial obligation. The assumptions that "Blood" result in, the mendacity that can occur only within the structure of brotherly (sisterly/fatherly, etc.) expectation, and the assumption (or non-assumption) of responsibilities that either lie in the character, or despite the character. There's some good stuff about class urban/mainland prejudice included in the film, and some comments about the nature of intelligence. All told via a narrative structure that I find particularly pleasing. By skipping from year to year, we see growth and change, but there's a certain amount of work that we need to do to fill in the intervening spaces. This film makes that work worth it, although near the end I found myself wondering how long it would go on.