Jugu Abraham
I am an Olmi fan and consider his later work "The Tree of Wooden Clogs" to be one of my top 10 films of all time.By comparison, "Il posto" is a minor work of Olmi. Yet it has certain common factors that can be found in most Olmi films--the love for the offspring from the parents, the blooming love of first time lovers, and an honest portrayal of lower middle class Italy. In most Olmi films there is a good dose of Catholicism but in this work it is restrained to a few references.The end sequence is however remarkable. The film ends with the clackety-clack sound of a stencil copier and no music. It is preceded by a significant and quixotic movement of clerks from one desk to another. Olmi communicates so much to the viewer without a word spoken. This will remain a great end sequence for me.
wes-connors
After graduation, director Ermanno Olmi's working class teenager Sandro Panseri (as Domenico Cantoni) is lucky to get a position at a nearby Milan industrial corporation. We seen him take the subway to the city, and go through the hiring process. The applicants take a series of aptitude tests. Intellectual, psychological, and physical abilities are examined. Panseri meets a beautiful young woman who is close to his age, and they take a testing break together. She is Loredana Detto (as Antonietta "Magali" Masetti). The company hires Panseri as an administrative messenger. Ms. Detto is hired as a typist, but works in another building.Panseri hopes to see Detto at the company-sponsored New Year's Eve celebration. Panseri manages to slip out for the event, but Detto never arrives; she is either not permitted to go out, or has accepted another invitation. At the party, Panseri shares his complimentary bottle with an older couple. He shyly accepts a relatively unattractive woman's invitation to dance. Later, Panseri is promoted to a desk job. He is noticed as young and cute by several good-looking young women. Presumably, he will marry one of these women and work at this corporate "job for life" while occasionally drinking alcohol to forget his dull existence.********* Il Posto (1961) Ermanno Olmi ~ Sandro Panseri, Loredana Detto, Tullio Kezich, Guido Spadea
scobie
When neo-realist film works, it really works. This movie is almost perfect. The story is simple, the attention to detail is exquisite, the "performances" are totally transparent. It's all very straightforward, but full of subtlety. It's also quite hilarious in several scenes. Above all, it's done without any condescension, with great sympathy and understanding. I loved this film.The Criterion DVD I watched has an interview with Olmi, who seems like a charming fellow. He denies that this is a neo-realist film, but that's merely a matter of definition. If by neo-realist you mean films like The Bicycle Thief and Umberto D., this surely qualifies. Indeed, there are several similarities to the former film.
mireille
This is one of those rare moments in cinema when the picture really is worth a thousand words and the director has the confidence and wisdom to let the film and his actors "speak" for themselves.We join the film with young Domenico preparing to take the big exam to get on with a firm in the city. If he can pass the test and be hired, he will be set for life--a great thing according to his father.The film has a way of showing us the range of emotions and doubts that race through the young Domenico's mind as he experiences the city, working life, and even a hint of romance with a beautiful young woman at the firm. The actor is such a natural and we are captured by his sense of wonder that is so effectively conveyed through subtle looks and gestures. And the film is certainly not without its moments of humor--there are wonderful moments throughout that allow us to laugh at the ridiculous nature of the working world and the folly of ordinary people.This is a true masterpiece of Italian neo-realism and I strongly encourage taking the time to watch it and savor every little nuance. You will be charmed.
AD
