On 22 September 1994 it came out in cinemas The Postman, the last film by Massimo Troisi
Twenty-two years ago it came out in cinemas The Postman. The film had been introduced a few weeks earlier in Venice at the Venice International Film Festival.
But Massimo Troisi was no longer there: he had gone away three months before only forty-one years.
The coincidence of the last phase of his life with the making of the film meant that you always looked at The Postman with a particular perspective, trying to see, within and beyond the film language, the man Troisi signs.
More. Watching the film often happens to decompose, recompose, overlay the heartfelt image of the postman with that of the real Troisi in a game of correspondence that they give us in the end the feeling of having witnessed a film that transcends its scenic dimension.
About The Postman it has been said and written a lot; look at the specific card.
We prefer here trace the genesis of the film, its implementation, the human aspects.
In this video, aired on RAI-2, Giancarlo Governi, writer, journalist, director and television writer, recounts the birth of the project and its complex construction. In the video there are several interviews including that of Nathalie Caldonazzo, then the actor's partner, who gives us the live story of that moment so humanly difficult for the actor.
The theme is taken up in this video in which the director Michael Radford talks about his relationship with Massimo Troisi and the genesis of the film.
The processing phase, the work on the set, with the difficulties to the already precarious conditions of Massimo Troisi, are the focus of this other video with the same Radford.
In the following video we see scenes of Back-stage of the film.
An important aspect is definitely the choice of the locations of the film.
In the book of Antonio Skàrmeta, from which the film is loosely based, Neruda is exiled in the Isla Negra (where, however, the poet actually lived for a few years of his life), in a green and rocky environment.
Despite the different historical and temporal location of the film than in the book, the film maintains the essential characteristics of the setting.
As locations were chosen the islands of Salina, Pantelleria and Procida.
In this interview with Gianna Gissi and Lorenzo Baraldi, costume designer and production designer of The Postman the reconstruction of the site selection and the "construction" of the locations where the film was shot.
Finally, cultural operators or leaders of local associations show us the places that were chosen as the main locations for the film. They seek to keep alive the memory of that film production and enhance their territories even through the indelible mark and magical that only cinema can leave.
Inside the house of Postino Massimo Troisi in Salina
Procida in the places of The Postman.