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Rating: I will start by saying that I do not frequent other film platforms besides FilmTV.
The reason? I find a notable correlation between the tastes of this community and my own.
Therefore, I feel confident watching a film that is well-reviewed, just as I am in skipping a poorly-reviewed one.
And here an unexpected discord arises.
For once, I find myself in complete contrast with the score expressed by the users for this film, and this is the reason for my review.
Film enthusiasts whose opinions I collectively respect give this film a score of 4.2.
As a rule, I shouldn’t even consider it.
Yet, for some reason, it attracts me.
Let’s see what happens.
Briefly, the plot seems almost secondary: a newborn that can be seen only by the pure of heart, cared for by the community of the homeless and marginalized, which, beyond their religious beliefs, unites them and makes them better, and perhaps subsequently the world.
In this film, I appreciated Giovanni Bedeschi's direction, almost always simple, straightforward, and tasteful. Almost always.
Bedeschi was also its producer.
I greatly appreciated the two protagonists: the still beautiful Donatella Bartoli, entirely believable in the role of a homeless person not wholly in control of herself yet tender beyond expectations, at times with a bewildered look, at times piercing, always on the right side; and this Sergio Leone of whom I admittedly know nothing but is equally credible in the role of a former garage owner who, following misunderstandings with his family, leaves everything and joins the community of Milan's homeless.
I also appreciated Gigi Piola - forgive me, I know nothing of him either, perhaps he has decades of art behind him - who acts as our Virgil on this journey, comforting us with his good sense.
And - Blast it - I also appreciated Paola Pitagora's performance, which I imagine was delivered more or less without payment.
Some scenes in the film indeed sound quite predictable and mawkish, for which I would hold the screenwriter responsible, a certain Franco Dipietro.
Due to a few lapses into excessively "do-gooder" style, in fact, the film’s second half potentially loses sight of its descriptive intent and embraces an easily biased reading that I'll let you find and - as I did - ignore.
Because the film has its strong positive points in the empathy with which it leads us to identify with the values of this marginalized community without painting it in pastel colors, but allowing us to recognize ourselves in the spirit of brotherhood.
You feel wounded by the acts of fascist squads.
You feel grateful to Caritas and all the volunteers who participate in the reception and protection of these homeless.
And it also has some moments of dense poetry.
I think of the nighttime waltz in the Galleria; I think of the New Year’s Eve party.
I think of Piola's final monologue in front of the Fountain of San Francesco.
I do not understand - I say seriously - the audience’s ratings; of an audience reasonably informed.
It is not a masterpiece. It has some lapses in style.
But it is a film that was needed and leaves the viewer richer and more aware.
If only we had more filmmakers like these.
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