Ronnie Spencer
I had never seen or heard of this film until last year. WOW! this is one of the best films of the post war, the cinematography, narrative elements, the easy confident pace. and for the actors to be non professionals - in the neo-realist tradition. It's hard to believe. some of these Hollywoodland hams could learn something here. If you've seen it see it again. If you haven't rent it, buy it, download it from someplace. that is if you like your cinema pure in spirit and free of crap, sadly, most people don't. most go out of their way to tell contrived, complicated plots with no feel for characters. I kind of wish I'd gotten into the film business.
MartinHafer
In 1928, King Vidor directed a terrific silent film, "The Crowd". It was about a young couple who live in a big and impersonalized city and it portrays their struggle to maintain their sanity in such a world. In so many ways "Il Posto" is like an updated Italian version of this silent classic.Ermanno Olmi directs this movie is a sparse and almost documentary style--with very subdued performances and a heightened sense of it just being everyday life. There is no pretty soundtrack, the lighting is often very naturalistic and the acting is very simple and low-key. Some may dislike this, as it does make the movie much slower and less exotic than a typical film--even a typical Italian film. I see it as a further evolution of the Italian Neo-realism style of film making--something that can be super-effective.Domenico and Antonietta are two very young people (to me they appear about 17) that seek out jobs at a mega-company--one that is very bureaucratic and impersonalized. They not only interview for the jobs but go through very exhaustive testing until they learn that they do have jobs. Much of the film portrays all the many steps needed to obtain the jobs. Unfortunately for Domenico, the job he wants as a clerk is filled, so he takes a job as an office boy until something better is available.For 93 minutes the film tells the story of these young people. However, there really are never any fireworks or excitement--just a straight telling of this period in their lives. Not surprisingly, the young and not particularly flashy actor and actress that starred in this film had very limited film careers--Loredana Detto (Antoinetta) only appearing in this film and Sandro Panseri (Domenico) only having three credits. They just seemed like ordinary folks--a strength in this movie but not something that will usually cause an acting career to flourish.Overall, this is a well-made but not particularly exciting film. I can respect the subdued style but wish the film had just a bit more energy--though I can understand that would have most likely not been the sort of film they had envisioned. Its mundane nature IS the point of the film--that life can be very ordinary and monotonous. It just makes for a tough viewing experience, however. If you are very patient, the film is well worth your time.
Asa_Nisi_Masa2
This is a shimmeringly beautiful, subtle and very powerful movie about all-too-ordinary people aspiring for "a job for life", and falling into an existence which will kill off any inkling of vitality, individuality and creativity in them, day in, day out. Olmi isn't a filmmaker I often see discussed on this website's boards, not even in a context about Italian filmmakers. Along with Mauro Bolognini, another wonderful but seldom-mentioned fellow countryman of Olmi's, he is occasionally mentioned for The Tree of Wooden Clogs, but not much else. I'll confess I'm not overly familiar with Olmi's oeuvre myself - however, since watching his 1961 gem Il Posto about a month ago, I have barely been able to contain myself and have tirelessly recommended it right, left and centre.The dehumanising effect of the large corporation, with its ant-like clerks and bureaucrats becoming tiny clog in a faceless machine, is a universal and timeless theme, starting probably with Fritz Lang's Metropolis all the way down to Naomi Klein's No Logo. I never cared for Terry Gillam's Brazil, nor did I consider Sam Lowry an adequate embodiment of the "insignificant" clerk. There was something over-styled about him, something which made him ultimately hip and cool, and something gratingly farcical and rhetorical about Brazil and all its characters generally. On the other hand, Il Posto and its protagonist, the ultimate sympathetic wet rag of a clerk, is achingly real, yet at the same time a sublimely beautiful artistic creation that could probably not have been summarised as successfully by a less accomplished filmmaker. The measured, yet powerful visual satire in Il Posto is probably what I'd wished to see in Gillam's movie, and didn't.The New Year's Eve office party scene is pure genius and should be studied in film school as a cinematic sequence close to technical, thematical, aesthetic and atmospheric perfection. It conveys so much at once: humour, pathos, social satire and extreme loneliness, besides being beautiful to behold and incredibly original cinematography-wise. It is at once highly artistic and entertaining, accessible. Quiet desperation: there's no better way to describe these characters' condition. Though Olmi doesn't spare us their selfishness and pettiness, he never fails to depict them with humanity and respect, thus showing his eye is a disillusioned, but not misanthropic or cynical one.One of the final scenes in the movie, in which a gaggle of clerks fight for the privilege of sitting at a recently defunct colleague's front desk, is one of the most depressing sights I've set eyes on. And yet, you can't help but feel deeply sorry for these hyenas in cheap suits and neon-pale faces, rather than feel angry or scornful against them. You just want to scream to Domenico to "Get out while you can!!!" The poor, gormless, meek, dork-boy, bumbling through his first taste of a mediocre adulthood, a boy you fear might probably never grow enough of an awareness or backbone to react against such a dehumanising system. Antonietta, also know as Magali, the pretty girl he meets during the company's selection process of the applicants and fast develops an attraction for, seems to have more individuality, more resources to survive the dehumanisation process. But then, you think for a moment about the fact that from a very early age, Domenico had been designated as the one who'd drop out of school early so that he could go out and contribute to the family's meagre income. Meanwhile, his younger brother had been chosen between the two to continue studying, perhaps even get a high school diploma or degree, thus fulfilling himself and improving his lot. One would assume that from childhood, the milder Domenico had been treated as the "dim" one, the one who'd rightfully sacrifice himself to allow his more promising brother to emerge out of their family's working-class, suburban obscurity. The scary part is that this isn't simply a dramatic plot device to increase the pathos - it's so plausible and depressingly true to life for its time and context! I was also deeply moved and touched by the fleeting appearance of the character of the older, married man who miserably fails the first written test (the one that the corporation's applicants take in an empty, grand old palace, so at odds with the suburban squallor and Northern Italian, typical 1960s industrial modernity). He embodies, epitomises and belongs to pre-economic miracle Italy, back when illiteracy and a rural existence was the norm. Probably either almost illiterate, or unable to apply even the most basic principles of arithmetic, he's a throwback to another era, which had ended roughly around the 1950s. He desperately tries to fit into the city, the burgeoning industrial North, the new Italy, but miserably fails before even getting anywhere. How will he and all those like him survive in this dehumanising shift into a brand new, industrial era? It's heart-breaking. Though Il Posto is also so much about Italy and its staggeringly fast move throughout the 50s and 60s from backward rural country to world industrial power, it remains first and foremost a universal, timeless movie. Very highly recommended.
anton_d_mannaseh1
I encountered this film almost accidentally one evening, and was not expecting a lot from it. Certainly, I had no way of knowing in advance what I was in for. With relative indifference I sat down, pressed play, and ended up experiencing one of the greatest movie experiences of my life. I sat in my chair, taking in the film, and was breathless. It never took a wrong step.As a film-maker myself, I kept a critical watch, waiting for Olmi or one of his actors to misstep. However,I can happily say that 'Il Posto' is a flawless picture. It is deeply moving, visually beautiful, and has a resonating power unlike almost any other film. I sincerely wish that more people could see and appreciate this picture, and that it was more widely available, because I consider it one of the greatest accomplishments in cinema history. Olmi's beautiful, universal film is worthy of standing alongside the best of Bergman, Kubrick, or Bunuel. Please seek it out!
