Bộ phim này thực sự có những hình ảnh noirish/neorealist tuyệt vời, và nó kể một câu chuyện mà không bị Hollywood làm ngọt ngào, điều đó chỉ có thể xảy ra vì nó về bản chất là một bộ phim nước ngoài độc lập. Nhưng một số cảnh kéo dài quá lâu (đám cưới, đặc biệt), và tôi thấy diễn xuất phóng đại và đối thoại không thực tế phù hợp hơn với sân khấu hơn là màn bạc.
This movie does have some great noirish/neorealist visuals, and it tells a story that is refreshingly free of Hollywood's sugar-coating, which was only possible because it was essentially an independent foreign film. But some of the scenes go on for much too long (the wedding, especially), and I found the exaggerated acting and unrealistic dialog to be more fit for the stage than for the silver screen.<br /><br />The dialog was particularly distracting, and it seemed to get worse as the movie went on. Most of the characters were either Italian-Americans or Italian immigrants living in New York in the twenties and thirties, but their dialog sounded like they were practicing lines for a Shakespeare play while they mixed cement and laid bricks. Toward the end I was laughing, and not because the filmmakers wanted me to. I guess the stilted poetry could be defended by saying that the characters would have been speaking Italian, and the dialog is a literal translation of how they would really talk. But it absolutely did not work for me.<br /><br />Another line of dialog made me laugh for a different reason: the main character's son, born and raised in New York in the 1920's, suddenly picks up a lovely lilting British accent. I'm only guessing this had something to do with the fact that the movie was made in England.<br /><br />I give this movie an 'A' for effort and intention, but a considerably lower grade for execution.