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• W299199296 abstract "The third film from Italian-born but American-trained Emanuele Crialese, Golden Door/Nuovomondo documents the journey of a poor Sicilian family's emigration from the old world to the new. The film is divided into three parts of approximately equal length: the decision to emigrate and leave-taking; life on board ship; Ellis Island and the rituals of inspection and sorting. Neo-realist it is not, however. While we are presented with a visually stunning account of the primitive way of life endured by the Mancuso family in their remote corner of Sicily, Crialese nevertheless opens up the parameters of the film's generic positioning as he inserts a liberal dose of unexpected fantasy into the miseen-scene. In this way, he separates the old world from the new not just by an ocean but also by its inextricable immersion in ancient superstitions and beliefs. The film opens strikingly with shots of two people .. a man and a youth, scrambling barefooted up a rock-strewn mountainside, in their mouths they appear to be holding onto large stones. Time and place are not evident ... it could be sometime in the nineteenth century, or right now. What the two are doing and where they are going is unclear. Eventually, they climb up to a spot where there is a small cross stuck in the ground. Removing the stones from their mouths, they place them, amongst others which are already beneath the cross, apparently as offerings to God. The older of the two, the father Salvatore, asks God for a divine indication that his family should emigrate from their ancestral home. When they return to their farm house, they are shown photographic post cards sent from America that depict giant vegetables and animals, and gold coins growing on trees as wonders to be found in the new world. Salvatore takes this as God's response, and makes plans for departure, selling off his possessions in order to purchase tickets for himself, his two sons, and his mother. The separation of the old from the new is made manifest in one of the most stunning and memorable scenes in the film. After the Mancuso family has arrived at the dock and their ship is about to depart, there is a moment when the screen is filled with an overhead shot of hundreds of people who pack the film frame. A few moments pass, and very gradually, a schism on the diagonal appears on the right side ... a thin white line which slowly expands, splitting the crowd (and shot) into two. This abstraction is startling. The viewer assumes this is another fantasy sequence, but it soon becomes apparent that the crowd of people is really two crowds: on the left, the passengers who are on board the ship; on the right, the people on the dock who are seeing them off. The combination of camera lens and camera angle have created a perspectival illusion that they are all on the same plane. In this economical yet highly effective way, Crialese has found a striking metaphor for the chasm opening up between those who go and those who stay behind. The middle section of Golden Door takes place aboard the passenger ship. We are shown the usual features of such a journey; overcrowded (and segregated) sleeping quarters, quotidian routines and practices which fill up the endless days, and a dramatic sequence involving a storm at sea and the loss of a passenger. The last section of the film, however, is the more interesting as it takes place on Ellis Island once the passengers have disembarked. …" @default.
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• W299199296 date "2007-01-01" @default.
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• W299199296 title "Golden Door/Nuovomondo" @default.
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