Jacinta Filiaci

October 13th, 2015

Italy through Film

Week 3 Reflection: Il Postino

Michael Radfords brings a tiny, simple Italian island to life in Il Postino. On the

surface, the film is about the obscure, growing relationship between the ordinary

protagonist Mario Ruoppolo and the famous and temporary-exiled poet, Pablo Neruda,

during a time of great political tension. However, the story delves deeper into themes of

isolation and marginalization and the relationship between the ordinary and the

extraordinary. Marios growing literacy throughout the film, enables him to escape from

the ordinary stagnancy of his life, using poetry as a vehicle of seeing the world as

meaningful in its relation to the extraordinary. Radford uses several visual motifs and

imagery to depict Ruoppolos stagnancy and his growing awareness that the whole

world is a metaphor for something else, that it is bigger than he initially believed.

Radford, himself, uses metaphors to articulate this idea, among them the island, water,

the white ball, cars, nets and windows.

Il Postino immediately conveys an atmosphere of separation by opening the film

with a close-up shot of a postcard from the United States. The postcard displays a

photograph of a car - importantly, an american car. This image alone contradicts the

islands lifestyle by depicting the connotation of modernity and freedom. The island

already does not have any cars, representing the lethargy of Ruoppolos lifestyle.

Additionally, on top of the foreignity of a postcard, is the fact that it is the United States,
a classic representation of freedom through the famous ideals of the American Dream.

The camera then pans out to reveal an intrigued Mario Ruoppolo as he sits on his bed

by an open window - the tiny bedroom representing home and safety yet also isolation

and marginalization. Radford uses the contrast between the postcard and the

mise-en-scene of the bedroom to depict these themes.

Quickly after audiences are introduced to Mario, Radford displays the view

outside his bedroom window: boats along a shore. Water is highly symbolic in Il Postino

as its presence is almost inescapable and because of the multiple meanings it carries.

Water represents both isolation and freedom; it is necessary to survive and to escape.

The people of the island are surrounded by so much of it yet simultaneously often run

out of their monthly potable supply - they have water but no running water. Moreover,

Mario comes from a family of fishermen. This occupation is significant because of its

constant contact with the ocean. Fisherman are always on the move, always on boats,

but at the end of the day, truly never go anywhere. Marios distaste of this lifestyle

becomes evident in the beginning of the film when he complains to his father. Later on,

he also chooses to describe nets as sad to Neruda. Whether or not this choice of word

is due to his personal hatred towards fishing, fishing-nets carry this sadness because of

their correspondence to being trapped. On the contrary, the ocean and water in

general, has a universal representation of freedom, with the constant ebb and flow of a

tide.

Moreover, Redford strategically uses the local inns Foosball table to depict

Marios growing freedom. His first interaction with Beatrice, who he immediately falls in
love with, is through a game of foosball. The foosball table is highly symbolic because

the players are only able to move horizontally; they are stagnant. The white ball quickly

becomes a representation of desire, not only due to its role in the game and contrasting

liberty of movement, but also when Beatrice places it in her mouth. Eventually, the ball

falls off the table and Mario takes it home, this representing Marios tightening grip on

his desires. Audiences subsequently see the ball in Marios hand as he reflects out his

window, revealing another white ball: the moon. This imagery strengthens the balls

connotation of desire as it corresponds with Beatrices aunts words, young people

today arent what they used to be. They have everything and want the moon. And

finally, the white ball makes an appearance in the moment Mario achieves the woman

of his dreams. The ball finally escapes the confines of the foosball table.

The film never reveals much detail regarding the actual island. It is always

referred to as the island or a small Italian island. This is seen in the News Reel

announcing Nerudas exile and when Ruoppolo is asked to recite the wonders of his

island on the radio. The islands name is never deemed significant enough to be

revealed and Mario fails to acknowledge much about it (besides his woman of interest).

The imagery that comes from simply the idea of an island depicts isolation: a small

piece of land, surrounded by a larger body of water. Life is simple on the island: there is

a limited amount of water, illiteracy and no cars. It is isolated from the rest of the world,

with Ruoppolo living vicariously through the front of postcards and international cinema.

However, further into the film, the islands identity grows richer. Most of Neruda and

Marios encounters take place outdoors, by breathtaking, rural landscapes - backdrops

spacious and unconfined. Mario in fact learns the significance of a metaphor by the

crashing waves of the ocean. The setting of the characters and the islands imagery

only empower the narrative of the scene, this demonstrated in Marios final recording for

Neruda. Unlike his last description of the island, he has much to say - much to record.

Mario recognizes his freedom as he recognizes the wonders of the island (Galt, 11).

Marios encounter with Neruda changes his life. He begins to grow in power and

simply in self-awareness through his growing literacy from the friendship. Poetry allows

Mario to understand and express his feelings. This growing awareness is seen in the

beginning of their friendship, in his reaction to Nerudas words I am tired of being a

man, feelings he revealed he always understood yet never knew how to express. As

their friendship progresses, Mario begins to write poetry and create metaphors on his

own; he recognizes the power of words. Early on in the film, Mario is so overcome by

Beatrice he could not utter a word or utter only five to her. Eventually, his words alone

(and perhaps combined with Nerudas) are what land him the islands most beautiful

woman. Beatrices aunt recognizes the weight of words countlessly in her distaste

towards Marios poetry, when a man starts to touch you with words, hes not far off with

his hands...Words are the worst things ever. And finally, it is Marios words and poetry,

that get him off the island for the first time. Mario is recognized through his words in the

communist demonstration; he is invited to share them. And it is in fact, these words that

put him in harm's way. It can be argued whether his poetry eventually sets him free or

once again, confines him considering Beatrices narration of his death, A riot began,

and the police moved in on the crowd...he was trapped.