Christ Stopped at Eboli (1979) Directed by Francesco Rosi 9B
In 1935, Italian painter Carlo Levi (Gian Maria Volante) is forced into exile by the Italian Fascist government which sends him from Turin to far off Eboli in the south of Italy. Levi, a social and political activist as well, is anti-Fascist which is a crime in Italy at this time. In Eboli, he must make huge adjustments as the peasants in the region are ignorant, highly superstitious (his housekeeper thinks angels protect the house at night) and dirt poor. Levi is an observant, thoroughly decent man. Rather than playing the role of outcast, he becomes an important part of a community that hasn’t changed much since the 18th century. Though he has a degree as a physician, he has never practiced medicine. But circumstances make it imperative that he begin to assist the sick in the village as there is no other competent source. This brings him in conflict with the Fascist mayor, with whom he as an adversarial but quite cordial relationship.
Christ Stopped at Eboli is both a fish-out-of-water story and a social commentary of both heft and clarity. Like Ingmar Bergman’s Scenes from a Marriage, the movie was originally intended for television. It proceeds in four parts, each averaging roughly an hour long. The first part deals with Levi getting used to the nooks and crannies of the village; the second part focuses on a visit from his sister; the third part examines his role as a doctor; and the fourth part looks at Levi back in Turin after his exile, coming to terms with his experience and realizing that there is always a yawning gulf between the needs of the poor and the purpose of the State, no matter who is in power.
Graced by beautiful cinematography and by a closely observed, humane performance by Volante, who should be as renowned in North America as Mastroianni, De Sica and Loren but isn’t, Christ Stopped at Eboli is one of the masterpieces of 20th century Italian cinema.
subtitles
Criterion Channel
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