HottWwjdIam There is just so much movie here. For some it may be too much. But in the same secretly sarcastic way most telemarketers say the phrase, the title of this one is particularly apt.

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Monique One of those movie experiences that is so good it makes you realize you've been grading everything else on a curve.

Aspen Orson There is definitely an excellent idea hidden in the background of the film. Unfortunately, it's difficult to find it.

Armand I am a fan of Visconti movies. for the Barroco nuances and poetry of small things. for beauty of details and courage to present slices of a neorealism in which is mixed nostalgic crumbs of a world fall and need of new society definition. Rocco was first movie by him who I saw it. a film - bitter story. picture of a family, map of searches, touching drawing of a victory of city and the love as delicate web. and, sure, one of wonderful roles of Alain Delon. in fact, a gate, or only a window to a time who becomes ours. because story is universal. and the figure of poor mother - letter of a never ending poem , is remarkable. end of an age. seed of a new form of self definition for Italian cinema. but, very important, testimony, not about a period. but a state of soul. must see it !

Boba_Fett1138 This movie is not an epic drama due to its large scale but simple because of its story! It's a family drama and truly honestly one of the best that I have ever seen.The story all sounds so very simple and standard on paper but simple fact is that it's all being executed very well, by director Luchino Visconti, who also helped to write the story (along with 6 others!).What I like about it and the overall movie, is that it feels quite modern all for normal 1960 standards. It's definitely not being melodramatic or over-the-top in any other way imaginable and stuff and characters are being all kept as realistic as possible, which helps to let the emotions and drama come across more realistically.The movie also feels modern with its storytelling and especially its pacing. The movie is quite long, as you could expect from a family drama but it really doesn't feel like a long movie at all and there just aren't any slower, more boring or uninteresting moments in it. A true accomplishment from Luchino Visconti, who directed quite a few movies that I really liked, such as "Ossessione" "Senso" and "Il gattopardo", that also all definitely show some similarities to this movie with some of its themes. But I also must say that this movie probably still remains the best Luchino Visconti that I have yet seen.Love plays a key role in this movie but it's not the happy kind of love. It's the kind of love that can drive people and even entire families apart, as all happens in this movie. It's really a powerful drama about love and family, in which two brothers and a girl play a big role.Also surprising that this is quite a good sports movie. Boxing becomes an important element in this movie, which even almost becomes an entirely different movie of its own. And I don't know, I always like boxing in movies, so I was quite pleased to watch it all.It's a very well shot and told movie, that also get beautiful acted out by its actors. It all provides the movie with some very powerful and effective moments, including a great ending!9/10 http://bobafett1138.blogspot.com/

Chris Jones I had never seen any movies by Italian director Luchino Visconti and boy... was I disappointed. Beyond some nice black and white photography and adequate camera work, I didn't see much else that even remotely justifies all the fuss. I hear Visconti was a great theatre director, but directing movies is a different matter. I had to check the IMDb.com site to verify the date this movie was made. Such overacting on the part of practically all the cast made me think of silent movies that were shot back in the twenties when the actors had to compensate for the absence of sound. I watched this movie with my wife and after two rather depressing hours we both broke into a fit of giggles, when right near the end, 'la mamma' opens her apartment's door and there is this close-up on Simone's face. I'm OK with stereotypes, but laying it on this thick is just ridiculous. I find it hard to believe anyone would come up with a film like this in... 1960, the same year Michelangelo Antonioni was filming l'Avventura -- not to mention all the dazzling inventions of the French Nouvelle Vague. The only thing that I truly enjoyed about 'Rocco' was Annie Girardot's performance. I had seen her in a couple of mediocre commercial French movies such as 'Elle fume pas..' and I felt she was a natural, one of these rare actors that command respect the minute they appear, but I certainly never imagined that given the chance, she could have been one of the greatest celluloid tragedians of all times. You may think that I am a little harsh with my four stars out of a possible ten, but if not for Annie Girardot's performance, I would have gone much lower.

jzappa Having seen Death In Venice before this, I'm taken by surprise when I see two pieces by a director who, with one, disconnected me with his coerced subtlety and understatement, and with this one, ultimately lost me by exploding the melodrama to heights of overacting I have rarely seen. There are so many more films by Luchino Visconti that I want to see that I am bound to be impressed by some of them, but they will likely be the ones that find equilibrium, whether in overstatement or understatement, or neither. Neither of the aforementioned films, no matter how seethingly sensual they may be, have egged me on.There is something to be said about Visconti's emotional instinct. For example, opening credits take a particularly long time, which complies with this film's elaborate concept of time. I would venture to say that time generally does slow down when watching Italian films, and that can be a really good thing. Usually. Here, it instead feels like it is magnifying everything, and the film, which could have been pared down to a neo-realist drama, becomes more and more like a soap opera. At first, I was thinking it would've been a great color film. After awhile, I was glad it wasn't. It was the only thing about it that didn't feel romantically embellished.Alain Delon, Renato Salvatori and Annie Girardot comprise a very strong cast in this melodrama about the gap between family and society. Actually, in Italy, it's not melodrama. It's reality. They call it realism. We call it overacting. I am aware that this film is a Venice Grand Special Jury Prize winner, and overall a highly appreciated classic of Italian cinema, but there are simply too many contagious weeping scenes, nuggets of wisdom in the form of metaphors too eloquently put for supposedly unplanned conversations by struggling lower- class people, and by the last hour, it all seems to be arbitrary for the sake of producing tragedy.The film is a depiction of class difference between Northern and Southern Italians. It includes an awesome boxing match between one of the eponymous brothers and another character. And there are other powerful moments such as when we see a field full of people standing in shame, a moment which propels a sudden change in tone an hour and a half in and feels like an epic turn. Delon as the sweet and loyal Rocco is emotively spongy and emphatic, but it is Salvatori who fills the screen with the grief of an agonized and wounded character. His performance is real and agitated, and Girardot is arresting as the pathetic prostitute. Nevertheless, there is a tilted fusion of dense emotionalism and realism to such a degree that the lines separating each become foggy and slight. However, such resulted in one very interesting line: "I would like to long for a car."