The Postman, an Italian film from British director Michael Radford
(White Mischief, The Elixir), is a charming piece of cinema that takes
several comfortable formulas and expands upon them in ingenious and
emotionally-satisfying ways. There's a little of everything here: poetry,
politics, humor, love, and heartbreak. Best of all, these elements flow together
seamlessly in a production characterized by solid acting, balanced pacing, and
eye-catching cinematography.
Mario (played by the late Italian writer/director/actor Massimo Troisi) is a
postman in a fishing village on a small island off the coast of Italy. Arriving
there in 1953 is famed Chilean poet Pablo Neruda (Philippe Noiret), exiled from
his native country for espousing communist doctrine. Mario is curious about this
new resident who, despite his advancing age, has a seemingly magical power over
women. Eventually, after delivering Neruda's mail for a while, he gets up the
courage to engage the poet in a conversation about writing. This begins an
unusual collaboration, with Mario providing a sounding board for Neruda's ideas
and Neruda teaching Mario about poetry and its relationship to life.
Although all of The Postman is wonderfully engaging, the last act
lends added resonance to everything that has come before. The final thirty
minutes change this film from a good little movie to a great little
movie. Radford has a subtle touch that draws out the best from characters and
situations. One could argue that all films seek to manipulate; in the case of
The Postman, it is done with the utmost skill. This picture is affecting
because, instead of relying on Hollywood's sledgehammer tactics of toying with
an audience, it plumbs a wellspring of deeply-felt, honest emotion.
In the final performance of a great career, Massimo Troisi (who died at the
age of 41, shortly after completing this picture) gives us a memorable
character. Hesitant, shy, and uncultured, Mario has the heart of a poet, but
little talent with words. In this post-Forrest
Gump era, it would be easy to compare him to the Tom Hanks character,
but Mario is really a more complex individual. He occasionally makes some
startlingly insightful observations, such as "the whole world is a metaphor for
something," often without realizing how thought-provoking his comments are.
The Postman is about Mario, and Troisi imbues him with a captivating
humanity.
Philipe Noiret's Pablo Neruda is the perfect foil for Mario -- a kindred
spirit with all the experience and talent that the postman lacks. Noiret plays
Neruda as part father-figure, part dreamer, and part realist. When Mario asks
him how to become a poet, the older man responds by advising his "pupil" to take
a walk along the island's shoreline and see what images come to mind. After
Mario has fallen for the stunning Beatrice (Maria Grazia Cucinotta), Neruda
tells him about the many women of that name to have inspired poets.
For two hours, it's possible to fall under The Postman's spell and be
completely enchanted. There is more vitality and genuine passion here than in
any ten big-budget extravaganzas. This movie about words and images will delight
not just because it entertains, but because it takes the motion picture
experience one step further, and fulfills. Look for The Postman this
summer. It will be one of the year's more rewarding theatrical experiences.
From movie-reviews.colossus.net
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