Film review: A sweet homage to the Italian film tradition of the best years

best years It’s the kind of movie you don’t watch often: great sentiments, great gestures, and destinies that span generations. However it is not big but it is a great cuddle in the little one. You won’t remember how much you missed the movie until after you watch a movie like this.

The plot is very simple, about three friends and all the complexities, tragedies and joys that fill their lives for 40 years. They become parents, get divorced, become unfaithful, and are promoted in their careers. During certain periods, they lose contact but always find their way back to each other.

nice thing about him Director Gabriel Moschino’s touch is that he doesn’t linger in all these life-defining situations and important life choices. He depicts them more categorically – that’s how life is, that’s how it turned out. We are only in control of our destiny to some extent, we can choose to fight against it or accept it. We are just human.

The movie began in 1982 when the three friends Paolo, Giulio and Riccardo were teenagers. It’s the best time of their lives, at least time looks like that in the rearview mirror. But don’t you always do that? Childhood, a time without responsibility and a constant look forward and never back down.

In classic Italian The tradition of films, as with Fellini and Scola, that time here also limits sexual awakening and the cult of women. Sure, one might think that the modern Italian director could have evolved a bit, but there is a point in this particular film being rooted in that tradition. Parallel to the personal development of Friends during these four decades, there is also a strong political development in Italy.
That is, Moschino tells the story of his country through his main characters, and to help him he takes the history of Italian film. Trevi Fountain gets a role here, just as it does in Fellini’s The Sweet Life.

and like Ettore Scolas We who loved each other so much, there is love in a woman that affects the lives of the three men (there are even two lines from Scola’s film, hidden away in the script).

Unfortunately, Muccino also follows the sad tradition of simplifying the single main female role in the film. It also depicts some life events very narrowly. But the film is still a wonderful tribute, a tribute to both the external and internal image of Italy, and all of its people in all of their daily lives.