E1 ENTERTAINMENT Tree of Wooden Clogs, The

Ermanno Olmi's The Tree of the Wooden Clogs captures a slice of rural life in turn of the century Italy in all its disarming simplicity. The authenticity of the depiction of life of early twentieth century rural Italy is partly an outcome of Olmi's use of non-professional actors. Their gestures, their remarkable tenacity and gentleness is there to be seen through the transparent style of Olmi's cinematic art, that is part-realism and part-romanticism. Through the lens of Olmi's peculiar art, the heart of the farmer's world, its inner rhythms and moods, the lived experience of rural life, shines on screen with a vividness that is astounding. The movie seems like a documentary at times but that is only because of the phenomenal art of Olmi's cinema. The gestures of the non-actors, their lack of "acting", their remarkable lack of consciousness show a radical form of innocence that belies the richness of the tools at Olmi's disposal, the peculiar embellishments of cinematography, the baroque soundtrack, the marvelous compositional uses of his style. The purity of Olmi's style, utterly new and unique, is perfectly appropriate for the simple, tranquil, even prelapsarian quality of the form of life shown in this film. The closest literary analog I can think of is Tolstoy's spare narratives in his short stories, where meaning is conveyed in concentrated moments of feeling without calling attention to the aesthetic framing that makes possible the density of the lived experience. Even if the film feels like a documentary, or a highly sophisticated form of ethnography, Olmi employs a highly refined style to convey simple human emotions in all its original, even transcendent, power. This film resurrects the spirit of the neo-realist films of the 1940s, their characteristic honesty, decency, and tenaciousness, while also bringing in a subtle formalism that has much to contribute to the realism of the piece. This is not a sentimental film. Far from it. Aspects of survival weave into this idyllic life that also shock us out of any expectation of an overly romanticized look at rural life. The struggle in the daily game of survival has a toughness about it. Rural life may seem idyllic, even gentle, but that outward grace emerges out of an unquestioning acceptance of the full cycle of life, its pleasantries and harshness. The scenes that register the tragic dimensions of life make the more transcendental moments that much more luminous. There is one scene in this film that conveys clearly and unforgettably how beauty emerges out of the surprise of ordinary moments. This is fully present in the gesture of a young woman just after she has learned that she is to be married to the man she has taken a liking to. Her face fills the screen, but her eyes look downward, closed, with a shyness that tries hard not to reveal her happiness. She has a faint smile on her lips, however, and her face has the glow of hope that she can hardly hide. She is radiantly beautiful unaware of her luminous look. That expression, so unconscious of itself, and yet so blissful is among the most powerful expressions of beauty on film. There is no display of beauty, just the simple, open, fact of beauty present in all its pristine quality for us to see. Her shyness highlights her beauty; her silence, unconditional love, all these "emotions" are brought together in that image. By showing us this sort of beauty, Olmi stands out for me, among a handful of filmmakers, as an inspired artist who has pushed the boundaries of cinema, what it can and should express, to an entirely new qualitative level.

This is a wonderful movie; it depicts life in Northern Italy under difficult circumstances, back when people's lives were controlled by a lot of things. The worst thing was, because of isolation and education not being readily available, these people accepted their fates. The acting is non-acting: it's simple, forthright and honest. Compare the lives of most Americans/Canadians during this time frame, at turn of the 20th Century: People were enjoying vaudville and trying to be happy. Silent films were made to amuse audiences, but still life wasn't half bad for most. Let's hope we never see oppression anywhere in the world again such as depicted in The Tree of Wooden Clogs (bravo Ermanno Olmi).

Okay

One of Olmi's greatest accomplishments, "Clogs" is a sensitive, verité-style drama that unfolds at a leisurely pace, with indelible, naturalistic performances by the entire cast of nonprofessional actors. Olmi based the film on stories his grandmother recalled about growing up in Lombardy, and the subtle power of this film comes from the calm, unforced manner in which he portrays lives of drudgery and sacrifice. Some scenes stick in the mind, like an old-timer regaling villagers with a ghost story, or a honeymoon trip to Milan on an old barge. Give "The Tree of Wooden Clogs" time to blossom, and you'll reap the rewards.

Very slow. Friend's mom recommended it.

One of the many great Italian films over the years. A daily journey of a rural, peasant family in the north of Italia. The pig slaughter, while disturbing to some, is very real and it's the "way it is". A must for Italian film aficionados.

Very old cd and the background was very dark. Great movie.

A very interesting display of life on a Italian farm in the late 19th century. (I don't like to describe anyone as a "peasant".) I wonder however why no other reviewer seems to question why it was necessary to cut down a tree to make a pair of shoes (clogs). The piece of wood used was small and I saw stacks of wood all over the farm yard -- used for firewood. I guess a sequel to this film could be "The Tree of Wooden Toothpicks". PS Don't answer that maybe the tree wood had "special" qualities. --- And I did like the film, except, of course - why cut the tree?