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A life profile. Robert Redford's Ordinary People From water

Perhaps those unfamiliar with the wonderful film by Robert Redford may be misled into thinking that the 'common people' (or tit.. Ordinary People ) of the title may refer to a some neorealist trend comparable to the traditional wording European (and Italian in particular). But there is no connotation of mediocrity in this family devastated by tragedy, to the point of forcing the viewer to wonder, once again, what it means to be normal, common people among the people.

Calvin, Beth, and Conrad, belong to high- American middle class and do not seem to fear the future. In fact, this family is a greater burden on the past, which deprives them of a direct confrontation with reality: the death of Buck, Buck's son nice and sweet, between father, mother and youngest son of context, put them aside .

Calvin ( Donald Sutherland) is an affectionate father, caring, passionate, concerned that his young son, Conrad (Timothy Hutton ), which has seriously attempted suicide to heal his guilt for the death of his brother. By contrast, Beth (Mary Tyler Moore ) seems estranged from his feelings and his pain, looking for a life that is as normal as possible, ordinary, unlike the suffering of the past and present.

But you can not escape his pain. Conrad knows, trying to bridge the distance between himself and his dead brother, entering in his pain after attempting to do flow with blood from the veins of the wrist. Conrad, the handsome swimmer leaves the team and poor results in time to meet with a psychiatrist (Judd Hirsch ) and try to define what's normal, ordinary in his life and his feelings of guilt. And do you know Calvin, who torture on an episode of Buck's funeral.

Beth, the mother, it seems the only one not to know: there is no lack of affection, lack of transport that Conrad and strongly requests that the husband is not enough to compensate. The relationship between father and son, as healthy as possible, given the circumstances and the people involved, it is totally biased in favor of the latter and Beth note: in a vicious cycle of disappointment and lack of affection, she manifested un bisogno a tratti disperato della presenza di Calvin.

Padre, madre e figlio s'inseguono e rifuggono l'uno dall'altro, incapaci di padroneggiare ciò che loro accade. Non difetta in loro il dialogo, ma ne manca una prospettiva, uno sguardo al di là delle preoccupazioni che il confronto reciproco comporta. Conrad, il sensibilissimo Conny, incontra e sembra anche amare una ragazza, ma soffre di un'impossibilità a mettere insieme i pezzi di un sentimento. Così, tra i due, sovrabbondano marche connettive del discorso, ma senza un reale seguito: quasi un'attesa che l'altro faccia il primo passo, il passo più importante in quel delicato momento che è l'incontro con il next.

Excellent sense of proportion and grace in this poignant film of Redford in 1980, winner of four Oscars (film, director, screenplay, Timothy Hutton, as a supporting actor). But Calvin, Beth, and Conrad told the universal values \u200b\u200bof modern Western world, and if you look at them in the face, are anything but common. Doors, each, the weight of his world, rolled in the background by unknown forces centrifuges.