Family Diary

I watched this on TCM and there was something wrong. when Enrico thinks about his brother in voice over, (as if he is writing an autobiography,) instead of Marcello's voice, some idiot dubbed in a ridiculous American actor's voice. firstly, the dubbed voice is all wrong in tone...it's as if the actor were from Car54 or Dragnet, and secondly, the voice reads the lines in the third person, often with bad translation!!!

So you have Enrico remembering his brother, and relating his recollections to the audience in the first person, but you have a voice over going "Enrico says", and "Enrico thinks",...it's a travesty.

This film is somewhat too sentimental, and slightly overwrought, but it has touching and truthful scenes as well. too bad that just when you become involved, some American butchery intrudes. 6/10.

This is one of the most moving films ever made. The atmosphere, the settings, the use of colour and the superb mastery of Zurlini's hand make Mastroianni and Perrin reach unthought-of characterisations of the two unhappy brothers. This is not a movie for all audiences. Its own qualities make it selective in itself. All the misery, sorrow, suffering and delicacy of the feelings that pervade the life of the two characters are brought to life with a sort of detachment and (paradoxically as it may seem) intimacy seldom seen in the screen. Absolutely a must. When will this masterpiece be available on DVD ?

In 1945, Enrico Corsi (Marcello Mastroianni) receives news of his younger brother Lorenzo's death. He recalls their earlier lives. Their mother had died from complications giving birth to Lorenzo. With their father sick, Lorenzo was raised by an English baron's butler as a gentleman while Enrico was raised by their poor grandmother. Next, they run into each other in 1935. They have been estranged from each other and from their sick father. History is recounted as they come to terms with their brotherhood. Enrico has the drive from his poverty. Lorenzo has no ambition and struggles to find a steady job. His pretty face is not enough. He joins medical trials and falls ill.

Whether it's Enrico's narration or the dialogue, everything is in a hush tone. It is a sad grinding descend. It's a little distancing especially when we're told about his bad marriage but never meet his wife. There are a lot of talking but it feels melodramatic. Mastroianni remains a master. I don't think I can stay with this movie without him.

This is a film so great that to attempt to describe it nearly forces one into poetry. The visual flow alone is like a walk through all the great art galleries of the Western world, and the camera pauses on many of those scenes to permit us to admire and study the surprising compositions and tonal pallets. The story is viewed oddly in the third person - I felt somewhat like an astronomer viewing the short-lived movement of a group of comets through the coldness of space and time - helplessly seeking meaning and comfort through love, but doomed to end meaningless and forgotten - following some brutish laws of physics whose study seems a shrewd exercise in futility.

The scope of action is exceedingly restricted - perhaps more microscopic than telescopic - in the end, it's all the same: universal and intimate, cold and loving, helpless, with an odd image of Joseph's multi-colored coat haunting the mind - yet another symbolic object long rotted into the dust as must all symbols.

This is the work of people who have a very mature, objective understanding of life and who, without romanticizing or distorting or euphemizing, have created something both true and extraordinarily beautiful.

Two brothers ;one of them,after his mother's death (she died during the birth)is taken in by a rich man,the other has to manage .But things will not turn out as expected.

The movie is a long flashback ,Enrico's somber meditation on his young brother's fate ,whom he only saw sporadically.There are a lot of holes in the plot,probably the weakest link of an unusual film.Mastroianni and Perrin (hardly 21) give strong performances which allow the movie to avoid pathos and melodrama.They are given strong support by madame Sylvie,as their grand-mother.What will strike you in Zurlini's film is the total absence of happiness,in the world which has forgot what it is to be happy:even the scene at the restaurant where the two boys invite their grandma is downright depressing;later the money the old lady gives to her grandson leaves a bitter taste in the mouth.All the scenes in the hospital are harsh,and may repel some.

It was the second time Zurlini and Perrin had teamed up,after "la ragazza con la valiglia".The last time ,in 1976,was the making of their masterpiece (Zurlini:director;Perrin:producer and actor) " Il deserto dei Tartari" from Buzatti's eponymous novel.

"Cronica familiare" is a movie that deserves to be watched,unless you're down in the dumps.