I know the book. and this was the motif to have not great expectations from its adaptation. but... . it is one of films who preserves more than the spirit of the novel. but it gives a large map to discover yourself. because it is the story of a boy front to one of the dramatic experiences who change not only himself but entire perception about values and relatives and justice and duty. the precise sensitivity of the performances of the lead young actor, the beautiful science to give force to nuances, the tension and the childish adults are pillars for a film who gives not only a beautiful atmosphere or roots of a drama, but the tools for an exercise of empathy.

This film starts out strong and seems to disintegrate as it progresses, resulting in little more than an mediocre movie. The Left Elbow Index considers seven variables in film--acting, character development, plot, artistry, production sets, film continuity, and dialogue--rated on a scale 10 for excellent, 5 for average, and 1 for weak. The plot seems average with the mystery of discovery and fear propelling the story, but very soon the viewer may get lost in too many cross-currents of apparent unrelated subplots. Where this film is going becomes somewhat of a mystery itself. The characters are average, none great and none terrible, and most are simply functional. This seems to lead to average acting with a well-rehearsed cast lacking emotion. The artistry is good in terms of superior cinematics, effective use of color, good camera angles, and exceptional scene balance. All production sets--indoors, outdoors, and in the "hole" are above average. Film continuity is maintained throughout with the relation of the children to the parents constant. The emotional continuity is even since the emotions are never overcooked. The dialogue is as it should be: necessary and appropriate. The colloquialisms help maintain a constant tone. The Left Elbow Index average is 7.85, not including minor deduction to a 7 because of the ever wandering theme, probably due to the constant biking from place to place in the movie. After all, this is not THE BICYCLE THIEF nor THE ICECYCLE THIEF, so why all the peddling? The movie is okay, but high expectations may not be satisfied..

In beautiful southern Italy, 1978, sensitive ten-year-old Giuseppe Cristiano (as Michele) plays with his friends, in a hot, deserted area (likely forbidden by their parents). After some bullying games, they leave; then, young Mr. Cristiano goes back to retrieve his little sister's broken glasses. Alone, he discovers a secret door to an underground pit, containing kidnapped Mattia Di Pierro (as Filippo). At first, Cristiano is frightened by the trapped figure. But, he goes back and begins to communicate with the other boy.Living in a hole has driven young Mr. Di Pierro a little crazy. He thinks he must be dead, and Cristiano is his "guardian angel". Eventually, a terrifying secret about Di Pierro brings the kidnapped boy closer and closer to Cristiano… "I'm Not Scared" (in English) features great locations, beautifully photographed and directed by Italo Petriccione and Gabriele Salvatores. The collaborators are certainly up to their award-winning "Mediterraneo" (1991). On the down side, Mr. Salvatores allows "Io non ho paura" to lose itself in slumbering artiness when it could be both beautiful and (more) suspenseful. Not showing "learned" acting, Cristiano and the natural young performers are outstanding.******* Io non ho paura (2/8/03) Gabriele Salvatores ~ Giuseppe Cristiano, Mattia Di Pierro, Diego Abatantuono, Dino Abbrescia

The real mastery in this film lies in the beautiful simplicity of it's childlikeness. There are few movies in Cinema that portray the innocence and unfeigned nature of children - before the loss of their transparency on the way to adulthood. I know the French film Ponette might come to mind for some lovers of cinema, but that was shot entirely from the perspective of little children almost to the exclusion of grown ups. This film shows the stark contrast of the two worlds by interweaving them, with childhood itself being one of the main characters, as landscapes were for John Ford in so many of his Westerns. Toward the end, it reaches for the sublime in moments of Michelangelo.For me, the emotional interaction of these very young non actors made the movie spiritual to some degree by way of it's sheer honesty, without compromising the true spirituality in the principles and very adult themes of good vs. evil, betrayal, forgiveness, reaping what you sow, the coming Judgment, and finally - true friendship born of selflessness. Something we adults could learn more from by becoming more like little children ourselves, myself included. I believe this to be one of the best expressions of the young mind in realism, without crossing over into the fantasy that is so common in film today. How refreshing.Of course all of this speaks for the excellence of the Director and the Writer, who gave us such a beautiful picture. Something that could only be pulled off by adults, albeit with at least the fond memory of a child, if not the heart of one. The cinematography, the very intentional and gorgeous classical score, along with much subtle but deep contrast, make this a modern classic that I will enjoy again and again. I hope you do too.http://fullgrownministry.wordpress.com/2013/05/26/peace/