Il Postino

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{film, series, show}
{son, year, death}
{island, water, area}
{album, band, music}
{language, word, form}
{water, park, boat}
{black, white, people}
{village, small, smallsup}
{war, force, army}

Il Postino is a 1994 Italian film directed by Michael Radford. The film was originally released in the U.S. as The Postman, a straight translation of the Italian title.[1] However, since the release of Kevin Costner's post-apocalyptic film of the same name, the film has been released on DVD as Il Postino: The Postman, and English-language film critics often refer to the film by its Italian title alone.

The film tells a fictional story in which the real life Chilean poet Pablo Neruda forms a relationship with a simple postman who learns to love poetry. It stars Philippe Noiret, Massimo Troisi, and Maria Grazia Cucinotta. The screenplay was adapted by Anna Pavignano, Michael Radford, Furio Scarpelli, Giacomo Scarpelli, and Massimo Troisi from the novel Ardiente paciencia by Antonio Skármeta. Skármeta himself had previously adapted his novel for the screen in 1985 as Ardiente paciencia (English translation: "Burning Patience").

Writer/star Massimo Troisi postponed heart surgery so that he could complete the film. The day after filming was completed, he suffered a fatal heart attack.

Contents

Plot

Pablo Neruda, the famous Chilean poet and communist, is exiled to a small island in Italy for political reasons. His wife accompanies him. On the island, dissatisfied with being a fisherman like his father, Mario Ruoppolo looks for other work and is hired as a temporary postman with only one customer and to get the job he has to declare himself a communist to keep the postmaster happy. He uses his bicycle to hand deliver the mail. Though poorly educated, the postman eventually befriends Neruda where he becomes further influenced by Neruda's political views and poetry.

Meanwhile, Mario falls in love with a beautiful young lady, Beatrice Russo, who works in her aunt's village cafe. He is shy with her, but he enlists Neruda's help. He constantly asks Neruda if the metaphor he used was suitable for the poem. Mario is able to better communicate with her and express his love through poetry. Despite the aunt's strong disapproval of Mario, due to his illicit poetry in which he refers to her breasts, Beatrice responds favorably.

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