Misunderstood

With a script based on a novel by Florence Montgomery, this is a tragic story, of a family torn apart by the premature death of the mother and the attempt by the husband and two young children to overcome this irreparable loss.

The father, believing that his eldest son would be more mature and better prepared to face the tragedy, seeks his complicity, to avoid further suffering for the youngest. But this decision turns out to be tragically wrong.

It's a well-made film (although the Italian dubbing, by British actors Anthony Quayle and John Sharpe, takes away some of the authenticity of the adaptation), centered on a child's perspective on family tragedy.

But the adapted work lacks the British spirit, that coldness that gives a certain nobility to the tragedy. Dubbed in Italian and centered on two mischievous children, with a clearly Latin spirit, the work is excessively melodramatic. A Latin fatalism, which does not fit well with the haughtiness of Anglo Saxon suffering.

I think the work loses strength in this Italian adaptation. A more formal and British treatment of these young orphans, with the rebelliousness and wit that should characterize them, would give more meaning and depth to the final outcome.

Since 1966, when I watched for the first time the beautiful "Incompreso - Misunderstood" of Luigi Comencini, I was moved to tears. I was 9 yo, had already red the book of Florence Montgomery and I was a little bit disappointed that Comencini had turned the story in Italy, in Florence, and adapted all the situations. During next years I grew up and I understood that the choice of Comencini was correct. I was always fascinated by the performance of Andrea (Humphrey), "actor" Stefano Colagrande... we are nearly the same age and I really felt in myself the same children's anxieties and passions that he shows so well, and acts perfectly, in this movie. I'm very glad that, thanks to internet, I found where Stefano Colagrande, who didn't act anymore, is today, and which is his job: he's a great Physician, and he's a Professor at the University of Florence. Sometimes life is grateful with sensitive persons! Thanks a lot for what you gave me, Doctor Stefano! GP

Duncombe, cold and distant father, besides UK Consul General in Florence, carelessly applies his stark communicative methods with his first son Andrew after his wife's death, which Andrew had sensed well before his father's disclosure of the sad news.

Duncombe's several duties, which constantly keep him away from the family, force Andrew to look after Miles, his little brother. Andrew valiantly carries on, humoring his spoiled sibling, putting on the apparent front of a strong man, getting himself into a lot of trouble due to Miles' continuous mischiefs.

Unbeknownst to his father, Andrew silently suffers his loss; blame is all Duncombe lays on young Andrew, probably due to his incapacity to deal with such pain himself.

It will be at the end, as often seen in life, that the diplomat will experience his second loss, probably the ultimate one, the one he negligently couldn't prevent. His coldness will eventually hit him during the last moments of Andrew's early, shattered adulthood.

Comencini gives this young man the power to annihilate the lavish and colorful home and surrounding environment, reminding us that once it's too late there's no return. There's perfect synchronicity between the colors/tones/score and the setting of the picture, a rather clear representation of life in Florence during the late 60's where roles, both social and professional were well defined.

Using a term I have commented with for a different movie, we are seeing a positive-negative image of Comencini's Pinocchio, where the father is constantly running after his son, both for loneliness and to keep him out of trouble. I think some of us will agree with the fact that Miles' role somewhat reminds us of the fictional character.

The comment's title has, for the record, its ambivalence.

In the history of professional film-making,death of a charming family member is a serious yet innocent theme.It is a common knowledge that an amateur director will butcher the look and shape of the film by turning it into a shameless tear jerker.But things would surely be different if the same matter is passed on to a veteran cinéaste.In the hands of versatile Italian director Luigi Comencini death of a family member theme has become a film almost close to a masterpiece.He has shown that his film has no place for melodrama as he depicts human side of people who cope up with the death of a family member.This sad event has been portrayed in the character of a diplomat who has to look after his two young sons after the demise of his wife.Incompreso is an Italian film about the intellectual growth of people both young and old alike who have to face their daily lives in the wake of a death in their midst.Comencini must be felicitated for the manner in which he portrays how life goes on as people must become strong even if there is a somber event of death around.This is because there is nothing in this world for weak people. Everybody must find own ways of dealing with the loss of family members.This is the only sensible message of this film.

"Sir John" (Anthony Quayle) is Her Majesty's consul in Florence. It's a job that comes with a gorgeous villa in a city of beauty and history that is home to his family. It's when a tragedy impacts on that family that he must come to terms with his own loss and continue to support his two young sons. "Andrea" (Stefano Colagrande) is the elder of the two and has been taken into his father's confidence, "Milo" (Simone Giannozzi) is much younger and so is initially left only knowing that their mum is away. These two lads get on like an house on fire, and have some considerable joy winding up their new nanny "Luisa" (Adriana Facchetti) who seems to insist that "Milo" spend as much of his time in bed as he can. Eventually, they manage to drive her to the door, but along the way it becomes clear to us that their father appears to favour his younger son. "Milo" is at an age where he wants to tag along to everything his brother does, and inevitably that causes some trouble for which "Andrea" usually gets the blame - just ask the bus driver or the mischievous "Uncle Wili" (John Sharp). Aware that he is becoming a little distant from "Andrea", the diplomat attempts to spend more time with him, and it's now that it we truly appreciate just how much this youngster adores his dad - but does his dad? This is certainly one of Quayle's more personable performances. Sure, he has the usual imperiousness, but he also exudes a rarely seen softer side as the story evolves. That said, the film belongs, entirely, to the two kids. They bring a wonderfully and engaging naturalness to their personas. It is quite possible that they really are brothers, and work effortlessly together - even when the younger is being a pain and the elder is seeking something more meaningful with his father. Their dialogue, and occasionally some of the direction, reminds us that their is recent grief to be dealt with, but that is very subtly expressed by a triumvirate of characters who are dealing, as best they can, with the hand fate has dealt them - but without always understanding just how this has affected the others. For a change, a film set in this finest of Italian cities doesn't dwell on the location at all, they could be anywhere, it's all about these three and though I really, really, did not like the conclusion at all, I really did enjoy the film.