One of my all time favorites.

good back-story, and good acting

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The acting is good, and the firecracker script has some excellent ideas.

'Padre Padrone' is based on noted linguist Gavino Ledda's autobiography which came out in 1975. The distinguished directors, the Taviani brothers, brought the story to the screen two years later. Ledda chronicles his childhood, adolescence and young adulthood, growing up under the yoke of his tyrannical father, a sheep herder from Sardinia.'Padre Pardone' opens with a cameo from the real-life Gavino introducing the story directly to the audience. He brings us back to the time when he was in elementary school, when his father suddenly appeared one day and pulled him out of class for good. The father brings him to an isolated area in Sardinia with the intent of molding the very young child into a sheep herder. The child is forced to watch the property in an isolated area, Baddevrùstana, while his father is off tending to business in Siligo, a provincial town close by. Since the only means of travel is by mule, Gavino finds himself alone on inhospitable turf.Gavino tries to make contact with other children who are forced to work for their fathers in the same way and he ends up being punished for it. The corporal punishment includes beatings with spiny tree branches which is mentioned in the autobiography. In the film it's not as clear, as we see the beatings with the branches from a distance. We do see a scene in the film where the father goes a little too far, where it appears Gavino loses consciousness for a short while (the father brings the son a cup of water to revive him).In another memorable scene, Gavino buys a broken accordion from two passersby and pays them with two sheep. Gavino lies to his father that he was attacked by bandits who stole the sheep. He shows his father his (self-inflicted) cut on the mouth but the father doesn't buy his story and cuts his rations.Due to the isolation of the male children as their fathers force them to work the entire time tending to the sheep, they have little or no contact with the opposite sex and develop some rather unhealthy sexual proclivities. A few scenes of bestiality are prominent during the first third of the film, including Gavino getting it on a with a mule and a group of boys masturbating with the aid of chickens they're attending to inside a coop.Once Gavino grows up, we meet him next when he's twenty. Gavino's father somehow inherits an olive grove under dubious circumstances. After a landowner is killed by a rival, Gavino's family helps the widow with the funeral arrangements and disposing of the property. The widow, in fear for her life, decides to move away from the area, but gives Gavino's father the olive grove as compensation for their help. Gavino's father plans to cede the grove to his offspring following his death but a frost destroys all the orchards in the area, including the family's olive grove.Gavino's father then decides to sell his herd and all this property, except for a garden. The children are shipped off as laborers but the father ships Gavino off to the Army. Before he leaves, the father teaches him some rudimentary math and reading so he can be accepted into the Army, as they will not accept someone who is completely illiterate.While in the Army, with the help of a friend, Gavino eventually learns how to read and write. He also completes a course in electronics and learns how to assemble a radio. When his enlistment period is over, against his father's wishes, he quits the army and decides to enroll at the University of Sardinia to study linguistics. Gavino's father forces him to work long hours in the garden which interferes with his studies and eventually the two have a physical confrontation. Now much stronger than his father, Gavino wrestles him down to the ground and humiliates the old man. Gavino concludes it's best that he leave his father's home and then goes off to the university to later become a distinguished professor of linguistics.It should be noted that the Taviani brothers are not out to condemn the brutality of the patriarchal society they're examining. While Gavino's father is sometimes brutal, in his eyes, he still has Gavino's best interests at heart. A good deal of the father's behavior toward his son is more 'tough love' than continuing acts of sadism. In many ways, he's ambivalent toward Gavino. In a most telling scene at the end, Gavino is looking for his valise under his father's bed, who's sitting right there after being humiliated after their wrestling match. As Gavino looks under the bed, the father is about to gently stroke his son's head but then clenches his fist, as if to strike him. In the denouement, we see that there were no further physical confrontations.Not everything in 'Padre Padrone' works. Most notably, none of the other family members are developed as fleshed-out characters. The sound quality of the film is also quite poor, as if we were listening to dialogue dubbed in the studio. Questionable experimental techniques are also utilized including animal and child voice-overs and sub-titles that seem to come out of the blue.'Padre Padrone' is comprised of a series of interesting vignettes about a world most of us are not familiar with. While the father may seem a bit one-note, the intensity between father and son is absorbing. 'Padre Padrone' can sometimes be infuriatingly slow-moving but one finds oneself waiting to find out how the relationship between the father and son is resolved. I'm not sure if this film is a true 'classic', but it's worth a look at least once, if not twice.

It is a rarer case that a film changes one's life, at least for a while. 'Padre Padrone' did it to me. The film made such an impression to me that first I read the book. Therefrom I got the details about the author's home village Siligo and its environment. As a child I was used to spend my holidays with mountain farmers, helping them here and there, thus I was familiar with rural and agricultural life.At the time I saw 'Padre Padrone', I was 20 years old, was used to do bicycle trips in my home country, but had never gone abroad. Sardinia was only one day by railways and one night by ship away, so I decided to go there.The first original place I came to was Sassari, where the author got his higher education and was also a professor. Some roaming through the hills brought me to his little village, Siligo. At the entrance, I noted an older man steering a cart pulled by a mule. This was not ordinary, because all other peasants used small and cheap motor-operated vehicles. Ledda's father being described as tenacious and closefisted, it is quite probable that the observed was him. But I didn't dare to ask him.Up from the village, I pedaled through family Ledda's pasture called Baddevrústana, where I noticed again a being standing on a trail: another mule.

"Padre Padrone" (Italian, 1977): Directed by Paolo and Vittoria Taviani. A Sardinian boy grows up under the crude and violent shadow of his sheepherder father. Family life is a combination of mind-numbing boredom and crackling moments of fear. The years pass, and almost by accident, the boy (now a man of 20) becomes involved in the larger world. Here begins his struggle to break away from the tyranny of "Father/Master", and make use all that awaits him… but the teachings of his father are NOT that easily left behind. It's an interesting psychological story shown in typical Italian 70's fashion – low production values, lots of overdubbing, and only a slight interest in creating an artful shot (no, most Italian films are NOT Fellini or Antonioni). However, THIS one is worth following. The payoff IS in the story and its message. It's a strong film that reminded me of "Pelle the Conqueror". And a second night of pondering: "Padre Padrone" ("Father Master") is a truly unique look at the relationship between fathers and sons. It's not a pastel image, that's for sure, but it raises some very interesting questions that I think most sons will recognize at some deep, unspoken level. As is always the case with a smart work of Art, the visual level is but the entryway to a broader topic which allows more viewers to relate. No, WE'RE NOT Sardinian, sheep herders, uneducated, or dirt floor poor. No, our fathers probably did not behave exactly as this father did...yet nearly every one of us can sense that the feelings we held towards our fathers (as boys) are somehow addressed in this film. He held the power. To get "out from under" his looming protections and threats, we had to leave. There was no other way to break free of the family dynamic. Upon return, for a visit or temporary living circumstance, we found he had not changed - no one in the family had changed - and the certainty we had that WE had changed while away, was only a facade days away from cracking or collapsing. What did we do? We left again, returned, left, visited, avoided, watched, and waited for "things" to change to SUCH a degree, we could now all settle into a new set of roles.

This film was laughably bad. The adults in the film are all brutish savages, and the plot line was non-existent. Apparently, a kid is pulled out of school to work for his father as a sheep herder, and suffers abuse at the hands of the man (who, judging from the film, couldn't have had an IQ much higher than 3). The next thing you know, the kid is about 18 and is still trying to figure out a way to run off. Horribly acted and, unlike movies of the same genre (Acla) this film was so pathetically scripted that you couldn't even care about the characters. A complete and utter zero.If you're looking for a "Mystery Science Theater" type experience where you can sit around with some of your buds and laugh at a truly horrible movie, then 'Padre Padrone' is the one for you!