``Cinema Paradiso'' Magic caused by love of movies. That miraculous child actor is now...

If you think about it calmly, it's an "impossible" depiction.

While this may seem excessive when viewed from a realistic perspective, there are many scenes in "Cinema Paradiso" that cast a spell using the "power of film."

For example, there is a scene where the projectionist Alfredo twists the projector's reflector to project the film onto the wall in the square outside for the audience that could not fit inside the Paradise Theatre. Theoretically, this technique of projecting the film simultaneously with the screen inside the theater is not impossible, but to come up with such a sudden idea and successfully focus it on the outside wall is a miracle. Moreover, because the reflector is used as a mirror, the image should be reversed left to right, but this is not the case. This is a truly cinematic performance (though as a result, the use of the mirror to cause the film to burn is surprisingly realistic).

Incidentally, the film featured in the play, which was so popular that it could not accommodate all the audience members, was "Firemen of the Viggi" (1949), starring the Italian king of comedy, Totò; the lead character in "Cinema Paradiso" was also nicknamed after this king of comedy.

Another important "mistake" with the projector is that there is only one projector in the Paradise Theater's projection room. When screening a feature film with a 35mm projector, two projectors are usually required for roll changes. However, having only one projector in the projection room gives the impression of a small village movie theater. Such "mistakes" are not a problem if they are for the magic of movies.

The famous "spliced ​​film" scene was also a topic of discussion at the time of its release, with people wondering if it exceeded reality from a rational point of view. Is it possible to project decades-old film that has been carefully spliced ​​by hand onto a new projector without any problems? In the first place, this film is thought to have been spliced ​​and stored before Alfredo went blind, so was it taken out before the fire? And for what purpose? Once you start thinking about such things, there's no end to it. However, because it is such a cinematic climax, all sorts of questions disappear from your mind. The love of film easily surpasses the lies and doubts of the film.

Toto, a young boy who has become an adult, is introduced in a painful manner.