DARING in its realism. STUNNING in its impact. BREATHTAKING in its scope.
When a widow’s family moves to the big city, two of her sons become romantic rivals with deadly results.
When a widow’s family moves to the big city, two of her sons become romantic rivals with deadly results.
Alain Delon Renato Salvatori Annie Girardot Katina Paxinou Alessandra Panaro Spiros Focás Max Cartier Corrado Pani Rocco Vidolazzi Claudia Mori Adriana Asti Enzo Fiermonte Nino Castelnuovo Claudia Cardinale Rosario Borelli Roger Hanin Paolo Stoppa Suzy Delair Eduardo Passarelli Franca Valeri Renato Terra
Rocco et ses frères, 로코와 그의 형제들, Rocco en Zijn Broers
I hope Simone chokes on his own dick and dies
Luchino Visconti’s epic melodrama of social migration and moral decay was first released in 1960, when it was met with great scandal (a prosecutor threatened to charge the director with “disseminating an obscene object”) and even greater success. Today, distanced from ridiculous controversy and dislocated from the provincial politics that drive its story, this immaculately restored classic of post-WWII Italian cinema often feels like a new experience altogether.
I don't think I've ever hated a fictional character more than I hate Simone
”My whole family arrived unexpectedly like an earthquake…”
A sprawling melodrama that’s the story of five brothers from a poor Italian family all trying to find their way, and the mother who desperately wants everything to be alright.
This is an incredibly thick movie, and there’s so much to take in, including a fantastically theatrical conclusion, that I feel I need to see it again in order to have any hope of beginning to unpack it.
”I was happy as a child.
The trouble started later on.”
A film about the intricacies of family relationships that illustrates how despite blood being thicker than water, our obligation to family can often steer us towards decisions that are not in our best interests. Luchino Visconti's beautiful neorealist 60's gem also uses class divide as a theme throughout.
Mama Mia! What a terrific part Mrs. Parondi is. In fact, the film is full of larger than life characters. Interestingly though, in a movie that is as stereotypically Italian as they come, four of its biggest stars are French (Alain Delon and Annie Girardot) or Greek (Spiros Focás and Katina Paxinou). Many of the voices were overdubbed into the final cut of the film to retain the 'Italiano' feel of the…
This tragic portrait of social change among a family of five brothers is a powerfully authentic, and ridiculously influential neorealist melodrama that is operatic in its execution and intimate in its telling creating a richly alive atmosphere in which these fascinatingly troubled characters operate.
Rocco and His Brothers is a film of overwhelming ferocity and love. Luchino Visconti, the Italian maestro who helmed this masterwork, lays down the most naked essentials of the family drama, and stretches the potentially stagy narrative to a sprawling 3 hours of visceral understanding. It displays all the delicacies of a family that feels about half that length because these characters just absorb you. Their lives become so meaningful and tangible, and when the story…
Bombastic and incredibly detailed in how many characters and arcs intertwine and clash, Rocco and His Brothers is an epic in the grandest sense. Burdened by what came before, broken by the present, and hopeful for the future, the complexity of motivation and of so many lives running separately instead of simply pausing for the main story, this level of depth in comradery and its partial collapse is so exceptional because of how alive everything and everyone feels. Amidst the intimidating and concrete landscape are characters building and breaking themselves, as well as others. The care in its detail, the care in bringing not just its leading cast to life but also those who are even so much as indirectly…
I'm sure everyone has had experience with toxic people in their lives, it's such a difficult task to recognize who is not right for you and when exactly to take action. But when that toxic person is related to you by blood, you feel an almost familial obligation to keep that person in your life, which leads to consistent wrongdoings and, unfortunately, very conflicting ideals. Rocco and His Brothers focuses on this exact theme, and it executed it perfectly. It's stark in its realism and at times can be heart shattering. This film is well acted and is overall just a beautiful and honest film on toxic family relations, as well as poverty. There is no doubt that this was an inspiration for Raging Bull, and this is every bit worth the watch.
Part of my 2021 Criterion Challenge, for a film on the Criterion Channel.
Luchino Visconti’s lyrical epic explores socio-political concerns on a sprawling, elaborate canvas. it’s a feverish melodrama that paints a richly textured and tragic portrait of a family thrust into modernity and its moral degradations—never dehumanizing the characters in the process. truly some masterful work from Visconti here and i can’t wait to delve into more of his work asap!
I came across this photo from a couple years back, the last time my brothers and I were all together (from left to right: Ciro, Rosaria, Vincenzo, Simone, Rocco). Like the Parondi’s, my family left the farm for the city, and for a while, after my parents split, my brothers and I would stay with our mom on weekends in a tiny, one room flat. We’d sit on the floor eating Ruffles with clam dip, and crowd around the rabbit-eared television watching shows like Coach and The Wonder Years and Moonlighting. Then we’d pull out blankets, make beds on the floor, and lay awake talking and telling stories until we’d drift off to sleep. With the move and the divorce, our world seemed…
The opulent folds of cinematography only go so far with me when they're cloaking such contrived and reactionary morality-tale flesh. The rise and fall of the house Parondi is a visually beautiful, intermittently engaging but ultimately barren experience.
Rocco, his mother and brothers Simone, Ciro and Luca migrate from South Italy to Milan in the North to join their elder brother Vicenzo. Initially penniless, they're forced to stay in insalubrious digs until the brothers can find work. All seems to be going well as Simone shows early promise as a boxer and finds love with a local girl called Nadia. Rocco watches on benevolently from the shadows, but he's destined to take Simone's job and his girl (though by happenstance…
The varied personalities of the brothers are no coincidence since Visconti's episodic structure has the specific purpose of displaying those social strata that form part of everyday's conflicts under the smart pretext of "we are all brothers; our society is a massive family". Its roots can be appreciated in the new wave of American directors of the 70s, most predominantly Scorsese, yet this powerful epic has not quite been surpassed in both its intentions and its honest, tragic nature. A powerful statement even for today's standards.
P.S. Hunt down the three-hour version. There is a reason for that.
A slow burn where everything comes full circle. Had no clue a big portion of this centered around boxing and I am an absolute sucker for boxing-related dramas (Hajime No Ippo, Raging Bull, MegaloBox, etc). And the boxing scenes in this were extremely realistic, did Alain Delon learn how to box for this or did he already know how? Spectacular. I've only seen Alain Delon in non-Italian films so seeing him act in his native tongue was incredible. Easily my favorite performance from him. This movie had to have been a reference point for Raging Bull and knowing Marty's respect and admiration for the Italian masters, I'd guarantee it is. I love a good ol' epic and this whole thing just worked for me in spades.
Apparently, Renato Salvatori and Annie Girardot become lovers in real life. Annie snubbed Alain Delon? Oh, my! Impossible!
Even I, being a bloke, would platonically date Delon just to make all the chicks jealous.
Anyhow, this 3-hour drama was too drawn-out and melodramatic for my liking. At times, dialogues seemed too trivial and theatrical as if written by a 6th grader working on a script for a Romeo & Juliet and Cain & Abel mishmash, Also, both Girardot and Delon (well, all the French actors) were dubbed in this movie which was rather off-putting for me personally given how obvious it was.
Perhaps I don’t understand both women and/or relationships, but I just didn’t get the whole Nadia and Simone “thing”.
Watch this for:
🥺🥇 One of the most emotionally intense films I've seen
A lot going on in this. Gotta watch it again
💿 Rental Blu-ray (2019 Milestone Films edition)
📽 LG (HD)
Operatic, heartbreaking, riveting epic. Very slow but for good reason, and massively crept up on me. I'm not really equipped to talk about it right now but just amazing stuff
This film is, visually, so beautiful, and Annie Girardot is incredible, and the film really comes alive whenever Nadia is on screen, and of course, Simone is absolutely one of the biggest, smelliest and most unflushable shits in the history of film. The scene where he and Nadia are in bed, and he's slowly encircling and smothering her, is so good and sucks so much.
Why was this 3 hours?
After seeing two other Visconti films I decided to watch his most critically acclaimed. Now when watching both of those films I had always felt an urge of boredom at times (the leopard while a masterpiece kinda loses its pace a bit in the third act) however Rocco and his brothers is one of the most thoroughly engaging films ever. My god this is a masterpiece, every scene is breathtaking, that cinematography!!!!! The acting (especially from Alain delon) is sophisticated, raw and fresh. The writing is mwah, one of the most well written films ever made. I think this film is a masterpiece and i see now why so many directors (scorsese especially who by the way seems like a lot of his films take inspiration from that) rant and rave about this film but in all honesty why wouldn’t they this film is extraordinary please go check it out.
This review may contain spoilers. I can handle the truth.
I was so immersed in this film during the first half of the film, it really brought the quality of the neo realist films of the era but then it became highly problematic. We are presented with Rocco's suffering and Nadia's suffering is completely left aside, the film wants us to believe that the bigger tragedy belongs to the brothers in love with the same person when in fact Nadia is the one we should empathize with.
I hated the treatment she got, her being raped, murdered and then not even mentioned in the film with respect and dignity anymore just proves that the narrative is more centered around the family and she was just a plot object to bring…
"What would you do if you were me?"
"Have faith and have no fear. Great faith."
"I don't know... in everything."
"Yes, in me too."
Don't know what else to say, Rocco you're too good to people's around you and fuck you Simone elah gondok banget bangke（╯°□°）╯︵(\ .o.)\
alain delon... fuuuuuu hhh ....
WHAT THE FUCKING FUCK MAN
Rocco y sus hermanos es un material de estudio interesantísimo porque se revela como la falla geológica entre el neorrealismo y esa cuestión operística y afectada que tanto le obsesionaría a Visconti.
Todo lo puramente neorrealista está ahí, los rincones atestados de gente, la atención por los interiores semi improvisados de las casas que en su progresivo embellecimiento se convierten en los verdaderos mojones de las elipsis, como así también los conflictos de clase, los pequeños dramas en el trabajo y la idea de lo laboral como una explotación cristica frente a la que la rebelión casi siempre termina del lado de la tentación por el mal.
Todo Rocco y sus hermanos esta regado de estos pequeños detalles donde el…
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