Giuseppe Tornatore’s film is an Italian saga, unfortunately too long (2h30), somewhat confusing, with an underlying political message (the struggle of the peasants against the notables).
Emotions and fond glances at the passage of time. All of this is certainly effective; the depiction of a small Sicilian town shaken by historical events and its traditions offers some good moments despite the superficial approach that sometimes caricatures the characters.
The author aimed to emulate Fellini but does not quite measure up.
However, the actors and extras are remarkable and effectively convey the realism of these situations. The same goes for the color of the images and the engaging music (written and conducted by Ennio Morricone).
Giuseppe Tornatore was born in Bagheria, and this film is also a self-portrait: The character of young Pietro, who goes to Rome to continue his studies with a passion for photography, evokes the experiences of the director. It is certainly a homage to his “beloved land.” As with any cultured and progressive Sicilian, he criticizes the social conservatism and contradictions in mentalities. And, like any Sicilian who has chosen to live away from his land, he views with pessimism the inability of his fellow citizens to use their ancient culture to seize economic and social development opportunities that could bridge the gap of their island (the Trinacria of antiquity) compared to more developed regions.
Giuseppe Tornatore is one of the most renowned directors of contemporary Italian cinema.
Among his many works, we must remember his first film ‘Il camorriste’ (1986), where he discusses the economic and political crime affecting the Peninsula.
But most notably his masterpiece, ‘Nuovo cinema Paradiso’ (1988), starring an extraordinary Philippe Noiret, which received the Grand Prix at the Cannes Film Festival.
Bàaria, shot in Tunisia with more than 35,000 extras, was criticized for being realized with funding from the film distribution company Medusa (owned by Italian politician Silvio Berlusconi) and by the production company Quinta Film (owned by Franco-Tunisian businessman Tarak Ben Ammar), a friend of Berlusconi. Tarak Ben Ammar was also linked to French financier Bolloré due to their joint involvement in the Italian bank Mediobanca, one of the most important in the European investment banking sector.
Considering Giuseppe Tornatore’s left-wing political engagement, who was also a municipal councilor in Rome (elected in the ranks of the now-defunct Italian Communist Party), it is clear that this could not be ignored and would inevitably spark fierce controversies!
