Comments on the Cinema Paradiso Bordwell blogs

It seems like everyone's thoughts on whether or not Cinema Paradiso was a classical Hollywood film hinged on two key, related personal interpretations of the movie. With this in mind, I thought it more prudent to do one blog entry of my own addressing how I saw each of those possible interpretations affecting its status as a classical Hollywood film than to repost those same views in everyone's comments.

I believe (and so did most people who wrote blogs on the subject) that the key to whether or not Cinema Paradiso can fall under the archetype of a classical Hollywood film, or even a modification of the classical Hollywood film as some argued, lies in personal interpretation of the aspects of Bordwell's dual plot line, and the affect that has on one's interpretation of the ending. It appears fairly obvious that there are at least two plot lines.

The first plot line, the quest aspect of the plot line, is Toto's life. Everyone who wrote blog entries was fairly uniform on this point. Whether or not this can be seen as a classical Hollywood film comes down to whether one sees the second aspect of the dual plot line as the fatherly love he found with Alfredo, his search for true romantic love from women, or his life long love of the movies.

If one sees this aspect as an accumulating, platonic love of a father figure, the ending can be seen as the completion of their relationship. Alfredo had clearly helped guide him on the path of life several times, finally sending him away from the town of his birth and his memories of Elena to become tremendously successful as a movie director. Thus, the reel of censored kisses was Alfredo's last gift to him as a father figure. It was to remind Toto, through a medium that he clearly understands well, and would derive great meaning from (probably more than words could have), of what Alfredo believed to be the most important part of life, finding true love. Under this interpretation, the ending would bring this relationship to a close. Alfredo had died, but he imparted on Toto all the wisdom he had, and presumably would have bettered Toto's life one last time. Under this interpretation, Cinema Paradiso clearly fills all the requirements of a classical Hollywood film, if perhaps an unconventional one.

Many things change, however, if one views the second plot line as Toto's quest for true, romantic love. The only time Toto found love throughout the whole movie was when he managed to seduce Elena. Things in this relationship eventually go sour. After he leaves his family behind, Toto becomes a successful movie director, and is rewarded, among other things, with success with women. The viewer is led to believe that his recent years before the funeral consisted of one night stand after one night stand. Under this interpretation of the second plot line, the ending must be seen as one filled with regret. As he watches dozens of shots of passionate kisses, he begins to cry, thinking of the way his relationship with Elena ended up, how loveless his recent years have been, and the folly of his choice of sexual fulfillment over romantic fulfillment. Under this interpretation, the second plot line has not been resolved. The ending of the movie shows Toto filled with regret, and without a romantic love in his life. Therefore, it cannot be thought of as even a modification of the classical Hollywood film.

Lastly, one can view the second plot line as the progression of his love for the movies. It started as a young boy, when he sneaked into the projection room of the Paradiso, continued as he became the projectionist, and then finally he left home and became a successful director. This leads to one final interpretation of the ending. This view is a bittersweet view in which he takes note of his failure in finding true love, but is reminded exactly how much he loves the cinema, and finds himself finally at peace for making the choice that he made. This view of the ending brings closure to the second plot line, as he has succeeded in his field of choice, and come to terms with himself. Because of this closure, this view leads to accepting Cinema Paradiso as an example of classical cinema.

Personally, I am a believer in the last interpretation. I think that this interpretation allows for the movie to be seen as having more complexity than the other two, but also ties into them as well. Furthermore, I feel this interpretation more closely jives with the director's initial purpose for the film, as an obituary to cinema. He believed that film as he knew it was disappearing, but like Toto, he did not regret the choices he made which led him to it.