Big (1988)

 

Big

It is not a secret that “Big” is a long-time family favourite in our home. Both my wife and I love it, we acquired the DVD early in our marriage and we have watched it a gazillion times over the years. I am therefore totally biased here and will be completely unresponsive to critique.

“Big” is a play on the What-would-you-do-if-your-wish-came-true theme. In this case it is as simple a child wishing he was big as in not a child anymore. Josh Baskin (David Moscow) is a 13-year-old boy, living a normal suburban life with his family and best friend Billy (Jared Rushton). At the town fair, Josh wants to impress a girl but is rejected at the ride for being too short. Humiliated, Josh makes a with at a Zoltar machine that he was big and his wish is granted. The next morning, Josh is an adult (Tom Hanks) with all the complications that entails.

Josh’ mother (Mercedes Ruehl) freaks out and does not recognize Josh. Billy takes some convincing, but comes around and together they decide Josh should hang out in the city (New York) until they can find a Zoltan machine to turn Josh back to child size. When this appears to require some time and they are short on cash, Josh will also need a job. He finds one as a computer operator at a toy company. It is a universal truth that young people are more tech savvy than adults and nobody understands toys like a child so Josh is a fish in the water. Before long Josh is VP of product development with his own office and secretary.

One of the truly amazing things about “Big” is how believable Tom Hanks is as the 13-year-old Josh in an adult body. His facial expressions, body language and way of talking is exactly like David Moscow’s and what we see is really a young teenager trying to get along in an adult world. It is heartbreaking to see him curl and cry up on the mattress in the seedy hotel he is staying at. When he enters the big toy store Macmillan owns, he is in a child’s heaven and starts playing with everything, forgetting he is supposed to be an adult. Even when Macmillan himself (Robert Loggia) shows up, it is difficult to get back into the role of a grown up and, discovering the walking piano, he forgets it altogether and needs to play. This is the iconic scene everybody knows from the movie, two adults jumping around on the keys. This entire part of the movie is filled with these child-encounters-the-adult-world events. Josh at the company party, Josh’ new loft apartment, which is more like a playground, Josh attending business meetings and playing paddle with a man who sees him as an enemy.

The longer Josh stays in this world, the more he grows up and the real turning point is his first sexual encounter with the mercenary Susan Lawrence (Elizabeth Perkins). This is also the part many people have a problem with. Susan acts in good faith. To her, Josh is a bona fide adult with a boyish charm, the entire opposite of her former boyfriend. We know that Josh has started thinking of girls, so entering this world is a magic dream, but also one he is entirely unequipped to deal with. We know Susan is having an affair with an underage boy, but she does not. When she eventually realises this, she does act accordingly, she is no paedophile. To me, this is also what saves it. To none of the involved there is an intent of doing something creepy.

Josh is being sucked into the adult world and it takes a wake-up call or two to realize what it is he is missing out on and to know he must get back. Being an adult for a few months was quite an experience but he will get there soon enough.

This is an endearing movie, partly because of the way it is told, but mainly through Tom Hank’s entirely convincing performance, one he was nominated for at the Academy Awards. Early in the development, adult Josh was supposed to have been performed by Robert de Niro. That would have been a very different movie, and I am happy it ended up with Tom Hanks. This is a movie that works at all age levels, and each age group will see something else in it. Yet, the relationship between Susan and Josh, key as it is to the story, has seriously threatened the reputation of “Big”. I understand where that position is coming from, but I do not share it. It is a (scary) part of the adult experience, and it is dealt with with sensitivity. There is not evil intent, and it convinces Josh this is all too early for him. Yet, there is no way this could have been made today.

Beetlejuice (1988)

 

Off-List: Beetlejuice

If you are a ghost and somebody have moved into your beloved old home and are making a mess of things, who’re you gonna call? Ghostbu... no no... Betelgeuse! (or Beetlejuice if you are so inclined). This fantastic and hilarious reverse of ”Ghostbusters” is my third off-List movie for 1988.

The Maitlands, Barbara and Adam (Geena Davis and Alec Baldwin), live in a cozy country house in Connecticut when they have the misfortune to die in a car accident. They are slow to realize they are dead and even slower to work out what that implies as the “Handbook for the Newly Deceased” is particularly cryptic. They do realize they cannot leave the house without ending up on Saturn’s moon Titan, which is infested with colourful sandworms.

Their second disaster is the new owners of the house, the Deetz’es, Delia and Charles (Catherine O’Hara and Jeffrey Jones) and Charles’ daughter Lydia (Winona Ryder). Charles is a developer looking for a quiet place while Delia is a sculpturer and very impressed with herself. Lydia is a goth girl living in perpetual misery. With those parents I am not certain I blame her. Delia’s art friend, agent or leech, Otho (Glenn Shadix), practically moves in with them. Right from day one they are busy changing the house in the most horrendous, but likely fashionable, way and the Maitlands want them out. The only place they have for themselves is the attic.

Lydia befriends the Maitlands as she is the only one who can see them and when their first serious attempt to scare them away fails (the famous Banana Boat Song scene), Lydia becomes the unwilling intermediary as the Deetz’es see great possibilities in a haunted house. It is time to get serious so, against advice from their caseworker, the Maitlands summon Betelgeuse (Michael Keaton) and this is where it gets really funny.

I was surprised how late in the movie Betelgeuse appears. I recall it as much earlier, but it is really only the last 20 minutes or so we get the fireworks which this bio-exterminator is. Sure, he pops up before, but only as hardly more than a mention. Betelgeuse is what everybody remembers from this movie and Keaton went all in on this character. He is repulsive and offensive, but also a hilariously funny clown. The uncle nobody wants to invite to the party, but all the children love. Well, who all the adolescent boys love.

It is true that the movie pulls into high gear when Keaton shows up, but what we forget is that this is already quite a feast. The Otho character is so sleazy and slimy that he is a hoot, and Jones did everything right back then in the eighties. Despite Keaton, my favourite scene of the movie is the Banana Boat Song sequence. Watching those pompous narcissistic bozos succumb to the song is always a laugh for me and it was heavily referenced in the sequel. The Maitlands’ visits to the afterlife are also legend. This messy place that looks like a Kafkaesque nightmare is all we fear about public sector bureaucracy. Being number 1000000 in the queue, a caseworker who do not have time for you. Paper and dust everywhere. Regulations nobody understand and catch-22s that means you are pretty much stuck. Dying sucks because this is where you end up.

Ryder’s Lydia is the heart of the movie, and she is fine and everything, but in this party everybody is having she is drowning out a bit. Her function is mainly as the only truly sane person among all these weirdos, the sounding box to make everybody else funny.

Only recently a sequel was made (it took 36 years!) and despite my fears of the opposite, it works surprisingly well. Keaton’s Betelgeuse gets a far more prominent role in that one, but it is otherwise faithful to the original. It works well as a double feature to watch them together.

“Beetlejuice” carries all the hallmarks of Tim Burton, the primary colours, the imagination and the larger than life characters and the crazy thing is, this was only his second feature. I would add this to the List without hesitation.

 

 

The Naked Gun: From the Files of Police Squad (1988)

 

Høj pistolføring

When the latest “Naked Gun” movie came out last year I was greatly disappointed. Had I become so old that the spoof movies of the eighties had become too stupid for me and lost their charm? I immediately went home and put on the original and to my great relief I had not lost the love, it was the genre that had gotten stupid. It is a year later, I am watching it again and I am still laughing.

“The Naked Gun: From the Files of Police Squad!” follows in the footsteps of “Airplane!”. It takes a well-known genre, in this case the police procedure movie, and makes a joke out of everything. And I mean everything. Sometimes there are multiple jokes happening at the same time, sometime the joke is in the way of the story and so the story must pause and no joke is too silly. While not every joke works, enough does and they have enough freshness and charm to be more than just silly.

There is a frame story, though not a terribly important one. Frank Drebin (Leslie Nielsen) is a police lieutenant who on his return from beating up the top bad guys in the world, finds that his colleague Nordberg (O.J. Simpson) has been badly injured. Also, his wife married someone else. Nordberg was shot six times, touched a hot stove, leaned on a newly painted door, fell into a wedding cake, stepped in a bear trap and fell out of a window of a ship into the harbour. Beside looking for the culprits, Drebin is also involved in the security detail for the British queen’s visit to L.A. We know early on that Vincent Ludwig (Ricardo Montalbán) is the bad guy, but as he is also a locally important businessman and host for the queen, Drebin is making difficult enemies. Luckily, Ludwig has a pretty assistant, Jane Spence (Priscilla Presley), who also like policemen.

If you know who Leslie Nielsen is, it will not be a surprise that Lt. Drebin is a complete disaster. He can hardly open a door without somebody getting hurt and he has this face that looks completely oblivious to the effect he has on his surroundings. Combining this character to the very low but also strangely innocent humour of the team from “Airplane!” is dynamite. Or at least it was back then when they were at their peak. A silly joke like Drebin having his microphone open when he goes to the bathroom during a press conference on the visit of the Queen works every time I watch it. I know it should not, farting jokes are not that funny, but with Leslie Nielsen it is hilarious.

What happened later with this genre was that it was forgotten that any comedy only works if you have a sounding board of normality. If everything is anarchy it is simply not funny anymore. Even the Marx Brothers knew this and used the awesome Margaret Dumont for that purpose. “The Naked Gun” tries to hang on to its “normal” frame story and it has a degree or normality in the world Drebin operates in. Not a lot, but just enough. Mayor Barkley (Nancy Marchand) is such a character as is (to some degree) Drebin’s boss Captain Hocken (George Kennedy). It is a tenuous grip on normality. When the movie is poorest it is because it is slipping away, but when the movie is best it is because the joke is up against normality as when Drebin takes over the role of a famous opera singer and abuse the national anthem at a big baseball game in front of an amazed audience. We see (and hear) Nielsen, but he is funny because of the audience.

The spoof genre continued for many years and got worse and worse. It is not that the jokes were sillier than here, but because the sounding board disappeared. When, finally, “Naked Gun”, 2025 came around, it was just dumb.

The original, though, is a lot of fun. Do not expect too much, just have a good time. Pretty much like you would with “Airplane!”. I love it.

 

A Fish Called Wanda (1988)

 

A Fish Called Wanda

I remember vividly watching “A Fish Called Wanda” the first time. I was in eighth grade, and my class was going to England to spend a week with British host families. In those days, the cheap way to go to the UK was an overnight ferry from Esbjerg to Harwich. We were a group who watched “A Fish Called Wanda” in the ship’s cinema. Midway through the movie there was a blackout. The ship lost power and lay still in the water for an hour before we could continue the movie. That sort of thing makes an impression on a 14-year-old.

“A Fish Called Wanda” is not so much a caper movie as about what happens after the heist. The gang has four members, the leader George (Tom Georgeson), his girlfriend Wanda (Jamie Lee Curtis), her lover and team gunman Otto (Kevin Kline) and right-hand man Ken (Michael Palin). Minutes after the heist, it becomes clear that nobody trusts anybody. George moves the loot (some very valuable diamonds), he entrusts their location to Ken, while  Wanda and Otto call the police to report George who is immediately arrested. Wanda is playing everybody, being lover of George, secret lover of Otto, friend with Ken and, when she learns he is the barrister of George, tries to become friendly with Archie Leach (John Cleese). Archie is, in his turn, living a fairly boring, if comfortable, life under the boot of his rich wife, Wendy (Maria Aitken). When he is approached by the vivacious Wanda, a whole new world opens up to the repressed, middle-aged barrister.

This is a comedy and it plays hard for comedy, though less so in the beginning. It is a fairly slow starter where the pieces need to be set up. It does not take long though to work out that Otto is an imbecile with an inflated ego. As an American with a very high opinion of himself he hates the British, though not as much as when people call him stupid or tries to cheat on him. He is the source of much, if not most, of the comedy here. There is a running joke with him being incredibly jealous of anybody getting close to Wanda and with Wanda using her female charms on practically everybody, this happens a lot. Wanda meets with Archie several times and whenever she does, Otto will appear, looking in through a window or suddenly be in the room. Those are my favourite scenes of the movie. When Wanda and Archie, in an embrace, are deriding Otto for his stupidity, Otto’s head suddenly appear next to the bed, saying: “Do not call me stupid!”. I almost fell off the sofa laughing.

Kevin Kline is funny here because he has been built op throughout the movie so his fumbling around and idiotic appearances becomes a trigger for comedy. Just seeing him, we know it will be crazy. It is a bit less so with the sensitive, animal-loving Ken with a stutter. He is tasked with getting rid of an elderly woman who were able to identify George during their getaway. His attempts at her life invariably fail as he ends up killing one of her dogs instead each time. Much to his own chagrin. As a 14-year-old this was incredibly funny. Less so now. It is when Ken has his encounters with Otto it becomes hilarious. Otto pretends to be gay and makes passes on Ken, and, towards the end tortures Ken to reveal the location of the loot by sticking up chips in his nostrils and eating his beloved fish.

“A Fish Called Wanda” is very much a John Cleese project. With Michael Palin on board there is a hint of the old Monty Python vibe, but this in not the anarchy of MP, not is it the zany world of Fawlty Towers. There is a grounding here in reality that at first seem to take the fun out of the movie, but eventually becomes the sounding board at which the crazy elements are thrown. Archie would not be half as fun without Wendy. Otto is hilarious because he operates in an otherwise sane world. Cleese’ Archie is a central character, but through much of the movie he is the stooge rather than a protagonist and it is often difficult to recognize the unhinged Basil Fawlty in the repressed lawyer. As a Cleese fan, this is a bit disappointing.

As for Jamie Lee Curtis, I always had a bit of a problem with her in this movie. She is a great actress, and I have watched lots of movies where I loved her and her stunts, but I simply cannot make her that femme fatale she is supposed to be here. Something does not ring entirely true.

A few anecdotes: Archie Leach is the actual name of Cary Grant, and he came from a location (or very close to) used in the movie. Coincidence? During a showing of the movie in Denmark, an elderly gentleman in the audience died from laughter. He laughed so hard he got himself a heart attack. The deadly joke of MP?

At the Academy awards “A Fish Called Wanda” was nominated for Best Director (Charles Crichton) and Best Original Screenplay (John Cleese) and, very deservedly, won Best Supporting Actor (Kevin Kline). Kline being the absolute reason this is a big recommendation from me.

 

My Neighbor Totoro (1988)

 

Off-List: My Neighbor Totoro

1988 is one of those years where there is so much good and interesting stuff to add to the List, yet when I noticed “My Neighbor Totoro” was a 1988 movie, I was not in doubt I had to add this one. There are a few Ghibli movies on the list, but, surprisingly, not this one and that despite when you look for Ghibli merchandize, the Totoro figures are the most iconic ones. Did I mention my son is an avid fan of everything Ghibli?

“My Neighbor Totoro” takes place in rural Japan, sometime in the fifties. A university teacher, Kusakabe, and his two children, pre-teen Satsuki and four-year-old Mei, are moving into an old, deserted house. The mother is in the hospital during the entire movie, suffering from some illness that keeps her there and is a constant worry for the family.

The story is very much seen from the eye-height of the two children. They are very energetic, everything they do seem to happen at a frenetic pace, and they have a lively imagination. When they believe they see something, the father is not rejecting it, but plays along. The girls see soot-mites escaping into crevices when they open doors to deserted rooms and rather than being afraid, they take delight in it. They are also spotting (Mei first, then later Satsuki as well) strange creatures dropping acorns in the house and the garden. Mei, following the creatures into a thicket surrounding a giant tree, ends up with a gigantic, furry creature who seems benign and says just one word, “Totoro”. Later, while waiting for a bus to meet her father, Satsuki also meets Totoro. He is simply standing next to her in the iconic image at the bus stop. She lends him an umbrella, and he gets on a gigantic cat bus before her father arrives.

A few days later there is a telegram to contact the hospital immediately. The girls worry something has happened to their mother. Satsuki tries to get hold on their father while Mei simply wanders off towards the hospital. Satsuki is upset Mei is lost but gets help from Totoro and the catbus to find Mei and then get to the hospital. The girls do not enter, but the parents find an ear of corn with a message from the girls on the windowsill.

Miyazaki combines a number of his classic elements in this movie. First of all, there is the world as viewed from the eye height of a child which both involves what is important to a child but also the magic that the child sees in the world. Another element is nostalgia for a time past. Miyazaki is taking us back to his own childhood where he moved from the city to rural Japan and the world he met there. Something he would reference a lot in “The Boy and the Heron”. Finally, the animistic spiritual world of nature plays a large part in “My Neighbor Totoro”. The world the girls see is not just their imagination, but a spiritual grey-zone where they are in touch with forces in nature that are very much part of traditional Shinto beliefs. Not that Totoro himself is a Shinto deity, but Shinto allows for nature spirits that you need to respect. Both “Princess Mononoke” and “Spirited Away” go down that road in a big way.

The girls seem to be allowed access to this world because the possibilities are never denied them. Where other parents may be keen remove such fanciful thoughts from the children, the father and the local old woman known as Granny never deny the girls’ claims and even encourage it. If the girls had been very sad about moving to the countryside, the magic world could be an escape, but that is not the case at all. Instead, the magic is part of the excitement of moving to the countryside and for the girls simply an extra dimension to be in. This world does offer help when they need it, but as an ability, not as an escape. In this way the nature-spiritual world is not a crutch but a bonus and an altogether much more positive thing.

As all Ghibli movies, “My Neighbor Totoro” is on the surface a children’s movie, but one with messages to adults as well. It seems to lack a plot, but that is because it is so much more focused on a state of things. This is less about overcoming a story-arch crisis as about achieving a communion with a spiritual reality.

Finally, not to forget, “My Neighbor Totoro” is a beautifully drawn movie. As in all Miyazaki’s movies the backgrounds are hand drawn to exquisite perfection. Totoro is now an iconic Ghibli creature, and I think many children all over the world are very familiar with it.

“My Neighbor Totoro” is a necessary watch in the Studio Ghibli universe and I highly recommend it.

   

Hotel Terminus: The Life and Times of Klaus Barbie (Hotel Terminus: Klaus Barbie sa Vie et Son Temps) (1988)

 

Hotel Terminus: The life and Times of Klaus Barbie

For a while I thought this would be the first time I had to give up finding a movie on the List and in a way it turned out so. Extensive search turned up blank unless I have an American library card, which I do not, or have access to a region 1 DVD player, which again, I do not have. I finally succeeded in finding part 2 of “Hotel Terminus: The Life and Times of Klaus Barbie” on YouTube and that is what I had to settle with. Missing the first half of the movie, I feel unable to give a proper review of it and this will just be my impressions from the second half.

Klaus Barbie was known as “The Butcher of Lyon” for his actions during the second world war. What exactly he did is a bit unclear because it is covered by the first half of the movie, but as an SS officer with that nickname, it cannot have been good. As the war ended Barbie avoided prosecution for his crimes by being spirited away. This is where the second half starts in the middle of the story of how that was possible. Something about that it was an American intelligence agency who got him out using some underground network that involved the Catholic church in Italy. I apologize for being obscure here, but this part was very confusing to me.

Barbie worked in South America for various military regimes. To begin with to fight communists, but eventually to become a power factor in his own right, leading an organization that supplied the regimes with arms through sale of drugs. He was particularly active in Bolivia under the name Altman. In the seventies, his name started to surface, and a number of individuals began to chase him down. Only in 1983 he was finally caught and sent to France where he was, three years later, given a life sentence.

“Hotel Terminus...” is a project by French filmmaker Marcel Ophuls. He previously made the documentary movie “The Sorrow and the Pity” and “Hotel Terminus...” follows in the same path. Here his mission is not to find Klaus Barbie, but try to uncover what happened with him. Not just how he was found, but the entire environment around him. At least in the second half I watched, we see very little of him. A few pictures and short clips from the trial, but no interviews to speak of. Instead, Ophuls interviews the people around Barbie. Often in small snips and cross-clipped with another interview contradicting the first. There is no voice-over or explanatory text beyond the name and title of the interviewed (at least that!), so as a viewer I must infer the connection and context from the dialogue. I have a feeling that even with the first part, this would still have left me somewhat confused.

Some of the characters being interviewed are downright dodgy. They agreed to give interviews for a fee, but their answers are at best useless. Others look very qualified, such as the head of the German Chamber of Commerce to Peru, but held up against other interviews, they appear to by lying through their noses. What is truth and what is fiction? It gives the impression of a conspiracy working just outside our perception with threads not just to juntas in South America but across the globe.

The final part about the trial itself focuses particularly on two subjects: the dodgy defence lawyer who not only has an ambiguous relationship with reality but also appears to be connected to some very unsavoury organizations with a common goal to disrupt the western world (making this quite relevant today), and secondly how much of the testimony against Barbie was rejected, either because of the long time elapsed since the war or because essential witnesses were discredited. For a while I thought this would lead up to that Barbie went free, but alas, he did get a life sentence.

I would like to watch the first half if it ever became available to me. Not because I am eager to watch the crimes of Klaus Barbie, but because I feel I lack the context for the second half and the means to fully understand it. For the same reason I do not want to offer a recommendation for this. I simply cannot judge it fairly.

Cinema Paradiso (Nuevo Cinema Paradiso) (1988)

 

Mine aftener i paradis

I remember when “Cinema Paradiso” (“Nuovo Cinema Paradiso”) came out. On Danish TV, the movie reviewer (Ole Michelsen) was gushing over the movie, but I did not much care for it, being in the wrong age bracket at the time (15 years of age). 10-15 years later I finally watched it and was surprised to learn that I liked it. That is already a long time ago now and I never went back to it until now. Revisiting “Cinema Paradiso felt like coming back to an old friend. Everything looks the same but completely different at the same. Pretty much the topic of the movie.

In present day Italy, an old woman (Pupella Maggio) is trying to reach her son, Salvatore (Jacques Perrin). Salvatore lives in Rome, is a famous movie director and has not been home for thirty years. The mother finally gets through to his girlfriend who in turn tells Salvatore that a man called Alfredo has died. This makes Salvatore reminiscence about old days, which then becomes the bulk of the movie.

We are now back in a small Sicilian town, Giancaldo, shorty after the Second World War. Salvatore, now known as Toto (Salvatore Cascio), is a naughty little boy (8 years?) who works as an altar boy and spends most of the time in the projector room at the church, turned cinema at night, with the projectionist Alfredo (Philippe Noiret). His life at home is miserable with a lonely mother (Antonella Attili) whose husband never returned from the war, but with Alfredo, Toto experiences magic. The priest requires Alfredo to cut away all the naughty parts and Toto revels in these cutaways.

There is a fire in the projection room and Alfredo, although saved by Toto, loses his sight. When a local lottery winner opens a new cinema, Nuovo Cinema Paradiso, Toto, as the only skilled projectionist available, is hired with blind Alfredo to guide him.

Fast forward to the mid-fifties, Toto has become a young man (Marco Leonardi) in high school who still runs the projector. When a new girl, Elena (Agnese Nano) arrive in town, Toto falls in love. Unfortunately, her wealthy family does not approve so when Toto returns after military service and years out of contact with Elena, he leaves for Rome with Alfredo telling him never to come back.

Now, 30 years later, having remembered all this, Salvatore returns to Giancaldo for Alfredo’s funeral. The town both look the same and very different. His life as it was now only lives on in his memory.

This is a movie that relies heavily on nostalgia. It is a remembrance of times past in the Proustian form where the reality we are presented is not necessarily an objective reality but a remembered reality. The things that made an impression, of joy and passion, misery and misfortune and people looking and acting precisely as you want them to be remembered. Salvatore sees all his old friends when he returns, but they are like strangers to him because 30 years of nostalgia removes them from objective reality and, truthfully, who stays the same after 30 years?

While the life remembered is uniquely Salvatore’s, we all share that experience of remembering the past and so we can all relate to the process if not the actual content. We remember what made an impression on us in our childhood, and we remember our father and mother figures or our first love. True, Salvatore’s memories may be a tad more exotic and interesting than the rest of us, a film of my memories would be both sad and boring to anybody else, but they are also made more interesting by the patina of nostalgia, of the longing for a paradise lost. The name of the cinema is not coincidental and the Danish title given to the movie, literally “My evenings in paradise”, is a reference to the personal paradise lost of Salvatore.

It is an incredible movie to watch, especially because it succeeds in dragging you in. Time flies by and by the time it ended I was surprised to see how late it was. Finishing the movie is like waking from a dream that took you somewhere else. I often have a problem with Italians and their very... expressionist... way of acting, but I got past this super fast. Even young Toto’s shrill cry of “Alfredo Alfredo” becomes less annoying after a while and with Ennio Morricone’s awesome and dreamlike scoring, the dream is now our dream.

If there is any complaint it is that Salvatore never returned to his family for 30 years. That kind of makes him a dick.

“Cinema Paradiso” won a ton of prices, not least the Grand Jury prize in Cannes and the Best Foreign Language award at the Academy Awards. That the Academy did not deign to nominate it for anything else, does not speak to the credit of the Academy.

“Cinema Paradiso” remains a great movie and it has aged incredibly well. It is possibly even better today than I remember it, and I can only give it my highest recommendations.