The film, to me, is about survival of one's identity. Micol identifies with her childhood and could not let go of it in relation to her childhood sweetheart, Georgio, even while her physical desires develop and intrude. The conflict in her mind is exposed by her enticing Georgio but turning cold when he makes the moves on her. She said she could not breath. Similar to what happened to the Jews of Italy, they were drawn in by their identity. For the Italian Jews, they identified with the Italian civilization, thinking they were a part of it. Georgio identifies with Micol. As the Jews were slowly extracted from theirs, they kept on with those early ideas. Same with Georgio, he kept on with pursuing her. Then finally when he saw she had sex with someone completely different from him and her---and she even turns the light on to show him---he snaps out of it. He finally grasps the physial reality of the situation. The process is just as his father says: better you die (your relationship with Micol, your identity as being part of her world and visa versa) young and hence you have more time to start from zero. And for the Jews: better your notions of being part of the civility of Italian society die early so you have time to rebuild elsewhere.The others in the garden didn't die in time and so became unwilling prisoners, in contrast to their voluntary enprisonment behind the walls of their own estate. Once in prison, Micol finally behaves as a responsible, caring adult, but alas, too late.Prior to that, while in France, Georgio was told of the Nazi horrors and how one man escapes by shedding his identity and saying he has converted to Nazism. Georgio says he won't escape because he had too many ties back in Italy. His identity then was bound to the fantasy of the Jews in the garden, even though his realistic father says they are not his type.Survival of one's identity has been the cause of much suffering when outside, physical, uncontrollable reality intrudes. Unfortunately, the identity we construct in order to feel a sense of belonging which gives us a sense of power, often subtracts from a balanced, caring, and even civilized way. As a result, religious, nationalist conflicts have caused too much suffering to justify the gains offered by these simple-minded (childish?) views.

I just watched the DVD and had not seen the movie in many years. I found it every bit as moving as I had remembered from my first viewing. This included the Prayer For the Dead (El Moleh Rachamim) magnificently sung as the final credits rolled. I am not Jewish so I had to do some "googling" to learn that El Moleh...is indeed a prayer for the dead. What moved me so apart from the singer's mournfully beautiful voice were the names Aushwitz, Maidenek, Treblinka et. al. interpolated into the text. It reminded me of the penultimate paragraph in Andre Schwartz-Bart's extraordinary novel of the Holacaust, The Last Of The Just where the names of the death camps are artfully placed among the repeated words "And praised Be The Lord". Thank you for the opportunity to share my thoughts.

While undeniably not for the shallow or those who expect their movies to lay every detail out for them amid plenty of "action," THE GARDEN OF THE FINZI-CONTINIS (a parable on a latter day "Eden" of doomed innocence?) remains after more than a quarter century one of the most perfect reflections of the gradual process by which the Holocaust could have happened in a Europe which believed itself civilized. The tragic love story allows us into the garden. Only our own action - or blind ignorance - can allow us out.Not a lot need be added to the perceptive comments already examining the details of this beautiful and moving film - but Americans, especially those of my fellow Republicans who are able to objectively look at their own country and leaders, should seriously examine the politicians who use fear and nebulous "enemies" to gain and hold power in the light of this film. The realization is inescapable that the world of the Finzi-Continis is not that far removed from our own. A question of degree not of kind.The garden is still seductively attractive, the country around it still relatively free, but will we follow the course the Finzi-Continis took or will we come actively out of our garden while there is time?

I can not believe that Vittorio De Sica did this film. What was he thinking? This film does not stand the test of time. The pacing is very SLOW; the plot does not make sense; the Cinematography was terrible - most of the shots are out of focus for "effect". I promise you, after 20 minutes you will fall asleep or get mad at yourself for watching this film.