Cinema Paradiso

In an essay on film theory, David Bordwell explains the structure of classic Hollywood cinema, describing the familiar conventions that make up traditional filmmaking. Most of us have become well acquainted with these conventions, since a majority of the films we see today follow the same set of rules. In classical Hollywood cinema, a group of individuals struggle to overcome a specific challenge, or attain a specific goal. The film ends decisively, usually with a victory for the protagonists, (sometimes, but more rarely, with a defeat). Either way, a classic film has a “clear achievement or non-achievement of the goals.”
The Italian film Cinema Paradiso presents an interesting take on these conventions. Bordwell tells us that the predominant ending shot of classical Hollywood is the united, romantic, couple. In Cinema Paradiso, the protagonist Toto does not get a Hollywood embrace with his lover. But the film does acknowledge the classical ideal. In the famous ending montage, Toto watches a film reel of spliced together shots of kisses and embraces from old movies (these clips were the edits removed from films at the behest of a censoring priest, clips that Toto had desired to possess as a young child.)
Bordwell describes the goal-oriented hero, on a quest or mission which is fulfilled at the end of the film. It appears that Toto does achieve success - becoming a very successful filmmaker. However the film does not show us anything of Toto striving towards this goal; Toto is very passive, and leaves for a career only after being forced out by Alfredo. We are given nothing to fill in the gap between the adolescent and the successful adult, and see no evidence of the trials and tribulations that should have accompanied a traditional narrative.
Nevertheless, it is the career goal that we see fulfilled - rather than Toto’s quest for romantic love with Elena. It is Toto’s quest for Elena that is actually shown on-screen. But as we learn in the film, Toto had no chance of a Hollywood-style embrace with her, since he has been living in a series of loveless relationships with other women. There is a classical Hollywood moment, but it occurs in the middle of the film. Toto, inspired by a story told by Alfredo, waits for months outside Elena’s window. He finally gives up hope on New Year’s Day, but Elena arrives in the projection booth just in time for a Hollywood embrace, surrounded by posters of similar embraces from classic films.
However, this moment does not recur at the end of the film. When Toto returns to his hometown after Alfredo’s death, Elena is still nowhere to be found. The Cinema Paradiso is abandoned from lack of use. There is no talk of restoration - T.V. and videos have made it obsolete - the building itself is demolished and turned into a parking lot. We see happy endings, but they are happy endings from other films. Toto is emotionally affected, but does it stem from nostalgia for his youth, memories of Alfredo, or regret over Elena?
After watching the film, I did a little reading on Cinema Paradiso. I learned that there is a longer director’s cut which includes another meeting between Toto and Elena as adults. I will have to see for myself, but including this scene seems a bit surprising. It means that at the end Toto is recalling not just a memory of youthful love, but a much more real, recent encounter that failed. To me, it diminishes the impact of the final montage of kisses.

As an aside - something has come up as I have begun to study films academically. I’m a little worried that taking a film class is like seeing how sausages are made. Will understanding the narrative tricks of the trade diminish the pure pleasure of watching a film? My previous movie-watching experiences have been largely free from deep-analysis. I have only a simple, surface understanding of film right now, but it works for me. Will the entertainment value be the same once you have a more critical eye? I’m still enthused about the class -I’m sure in the end it will broaden my appreciation for films - but it is something that I have been thinking about.