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Magnificat 1993
Description: Magnificat is a 1993 Italian drama movie directed by Pupi Avati. It was entered into the 1993 Cannes Movie Festival.
Released: N/A Director: Pupi Avati Writers: Pupi Avati (story) Actors: Luigi Diberti, Arnaldo Ninchi, Massimo Bellinzoni, Dalia Lahav Genres: Drama, History
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See Magnificat [1993] on youtube.

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See Magnificat - Estratto (Pupi Av on youtube.

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See Pärt: Magnificat on youtube.

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See Michaela. August 8, 1993. Ma on youtube.

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See MAGNIFICAT Pupi Avati 1993 on youtube.

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See Magnificat in E on youtube.

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See Magnificat quarti toni on youtube.

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See "Magnificat" - Rútil on youtube.

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Magnificat Reviews:

Over these last 40 years, the directorial career of Pupi Avati has veered from intriguing Euro-Cult items, through broad comedies and elaborate epics, to perceptive family sagas; while I have been sufficiently impressed by the first kind – especially THE HOUSE WITH LAUGHING WINDOWS (1976) and ZEDER (1983) – frankly, I have tiny interest in the last. The second genre, then, I have yet to sample (although I do have a couple at my disposal) and the third I have only sampled with middling results. The game under review, then, also belongs with this batch; it had competed at the Cannes Movie Festival and has, not undeservedly, been dubbed Avati's greatest by the "Film.tv.it" website. While celebrated East-European black-and-white epics like Andrei Tarkovsky's ANDREI RUBLEV (1966) and Frantisek Vlacil's MARKETA LAZAROVA (1967) have rightly given movie critics the feeling that a 20th-Centruy film camera had been dropped right into the Middle Ages, I am of the opinion that their 'color' counterparts should easy be Bertrand Tavernier's LA PASSION BEATRICE (1987) and, now, Avati's MAGNIFICAT. This holds real for the latter to the extent that it does not offer a conventional plot-line but rather follows – in stark, quasi-documentary fashion, finished with archaic and affected narration – the exploits of a disparate group of pilgrims during one particular Holy Week around 900 A.D. in the Tuscany region. We have a moribund ruler who travels with his bastard sons and recent companion to his final resting zone on the river bank (being the burial website of his wife); a royal impregnated concubine (one of three such expecting girls of the same monarch) seeks to give birth before the others, to a male heir and on Nice Friday to boot – so that her 'son' (which, to her shock, turns out to be a girl) may become blessed with the gift of clairvoyance!; a newly-married couple lying in their bedchamber are spied upon by relatives and loudly cheered when the wedding vows are eventually consummated; a traveling executioner (his own partner-son having been place to death himself for raping a nun!) and his fresh apprentice, after accompanying a supposed wife-murderer on a three-day 'healing' trek that will confirm his guilt or proclaim his innocence, have to dispassionately perform their duty on him; a pious friar walks throughout the land, from convent to convent, collecting the names of those members of the fraternity that had passed away since he had last visited…but no one is there to record his own death in a maze of grottos!; and, finally, a 14-year old woman is treated as chattel (a bartered piece of merchandise) when she is offered to the Roman Catholic Church – by method of internment into a cliff-top abbey dedicated to the cult of Mary's Virginity – in return for a wheat-grinding apparatus!! Despite the relative distance with which Avati shoots these alternating threads (set to Riz Ortolani's remarkably subtle melody score), the feature is often fascinating to look at; besides, it is significant to note how tiny these religious rites (the kissing of the Cross by the faithful on Nice Friday) have changed despite the passage of many centuries. P.S. I – For the record, thanks to yet other epic {sic} power slash that reigned supreme over the Maltese islands – smack in the middle of the Nice Friday procession! – I had to watch this challenging but rewarding piece of work in the wee tiny hours of the morning i.e. around 02:00!!P.S. II – By the way, my positive reaction to MAGNIFICAT has made me seek out instantly Avati's remaining three entries in my beloved horror genre, namely BALSAMUS, L'UOMO DI SATANA (1968), THOMAS......GLI INDEMONIATI (1970) and THE ARCANE ENCHANTER (1996); thankfully, it took me very tiny effort to track them all down!



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