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With Filippo Mazzarella

Luigi Comencini’s movie is a (tragi) bitter and bitter comedy with a tremendous solid

In 1972, the cinema of the masters and fathers of Italian comedy (after struggling, driving, criticizing, sinking and metabolizing the Nineteen Sixties) seemed on the nation in more and more crucial situations, wherein social tensions had been rising, the germs of terrorism took root (in March this yr, the Purple Brigades “Signed” their first kidnapping of engineer Idalgo Macchiarini), the political equipment is weakening and probably the most seasoned observers are already feeling the indicators of a worldwide oil disaster that can result in financial savings in early 1973.

The season of triumphs has simply ended within the cinema prolonged on the field workplace “… and so they nonetheless referred to as him Trinit” with Terence Hill and Bud Spencer (fourteen million tickets, science fiction numbers in comparison with immediately), but in addition “Il Decameron” by Pier Paolo Pasolini and “Mim metallurgico wounded honorably” by Lina Wertmller (1st, third and 4th place at boxoffice 1971/72 respectively, in a rating that sees sixteen Italian movies within the high twenty and within the honorary place “007 – Diamond Falls”). Issues change. The works of “masters” are “bitter” , the bitter aftertaste already current of their movies will certainly prevail: the caustic Mario Monicelli comes from “La mortadella” (1971) and prepares a venomous satire “Vogliamo the colonels” (1973); Dino Risi has simply signed a masterpiece of disappointment, corresponding to “Within the Title of the Nation” Italian “(1971) and works on the forgotten” Hit and Run “(1973); the fighter Ettore Scola ends the tart” Essentially the most lovely night of my life “(launched in December) and even within the environment of” Rome “by Federico Fellina it (launched in March) has a comparatively totally different and extra leaden environment than within the earlier grasp Rimini movies.

On this context, “The Scientific Scopone” by Luigi Comencini [presentato in anteprima mondiale il 24 settembre 1972 a Saint Vincent in occasione di un torneo della F.I.G.S – Federazione Italiana Gioco Scopone e poi uscito nelle sale italiane il 6 ottobre] it’s in the midst of the ford: it has the character of a post-post-neorealist comedy (an exquisite script signed solely by Rodolfo Sony, prince of our native scriptwriters), constructed like a black fairy story, doesn’t bind it on to the “engaged” wave and the “political” rush of contemporaries; however its indeniable facet of the category battle (or the defeat of the intellectually defrauded proletariat, as some “liberal” critiques of the time declare?) however symbolize a big breakthrough in relation to the earlier part of the director’s profession. (whose final three movies differed significantly in tone and kind: “The Italian Secret Service”, 1968, “Giacomo Casanova’s Childhood, Vocation and First Experiences, Venetian” and “Understanding Nothing About Her,” each from 1969), remodeling them into despite itself, within the occasions to return, it turns into an vital characteristic of the union.

In “Scientific Scopone” senior billionaire The anonymous Italian American (Bette Davis) returns as standard, accompanied by her driver and former lover George (Joseph Cotten), to her villa within the Roman hills, on the foot of which, in a poor village, they dwell with their 5 kids, the poor Peppino spouses ( Alberto Sordi) and Antonia (Silvana Mangano). The 2 are frequently invited by a girl (who lends them cash to play and has George as a companion) to take part in prolonged science scopone tournaments that at all times lead to a borgatari failure as a consequence of Peppino’s poor gaming intelligence. in it with the mirage of beating the previous girl with the cash essential to take over the junkyard, transfer the household to a good residence and free her prostitute from the clutches of her macros. In a time that hopes for a remaining rematch, the billionaire’s sickness interrupts the sport as they each have a seven million lire surplus. However after some time, livid, the previous woman makes them return to the desk for a “monster” double-betting sport.

Peppino and Antonia fall into disaster: a present Take note of the prudence suggested by the priest and be happy, or the firmness of a communist professor (Mario Carotenuto) who would really like them to make use of the poor well being of a “witch” to convey her to the pavement? Antonia decides to return to the villa and proceed taking part in: however as at all times, the grueling marathon ends with one other Peppino mistake that ignites their goals. And when a girl tries once more to face her rival with one other associate, Righetto (Domenico Modugno), knowledgeable participant (and cheater) who has at all times had a tender spot for her, the scenario doesn’t change: each of them will convey to the desk the financial savings capital of a whole city collected by professor to annihilate the “witch”, however after a triumphant escalation, they are going to lose all the pieces. Righetto will attempt to kill himself and Peppino, despite the fact that his spouse even offered her hut to gather the misplaced funds, will make peace with Antonia, giving up ready for a brand new redemption alternative subsequent yr. Cleopatra (Antonella Di Maggio), the couple’s eldest daughter who witnessed the entire mute tragedy, gave the departing billionaire a cake that she made filled with rat poison …

“Scientific Skopone”, created by Comencini after the tv expertise of “I bambini e noi” (a six-hour doc from 1970, which can also be elementary to the narrative financial system of this movie), as already talked about, a bitter and bitter (tragi) comedy that first implies an apologetic about class battle ( to which Comencini and Sonego don’t appear to have a lot confidence: see the outline, albeit cordial, of a professor performed by Carotenuto, whose meaningless slogans will spoil each heroes “, P. Mereghetti), the place energy given by cash at all times ends in extortion endlessly wealthy over eternally poor, after which these of a black fairy story, wherein the “evil” was initially portrayed as a beneficiant wizard, then as a weird and merciless “queen”, whose façade of equal affection fails as her overwhelming ego plunges into disaster.

Quick tempo and superb solid are the movie’s strengths: if former Hollywood stars within the fall Bette Davis and Joseph Cotten (collectively once more after Aldrich’s Piano … Piano, Dolce Carlotta, 1964) are additionally an ideal metaphor for the cinema that’s now “vintage” And doomed to oblivion Alberto Sordi (David di Donatello as the most effective actor) units fireplace to a task that’s at all times on the verge of aware self-parody and the sublimation of 1’s personal masks into a logo; in flip, Silvana Mangano (additionally for her David as the most effective actress), extraordinary exactly as a result of paradoxically incompatible with the character, offers Antonia’s borgatar a psychological “aristocratic” dignity even earlier than physiognomy. Not solely the solid of supporting actors, wherein Carotenuto stands out (Nastro d’Argento 1973 as a supporting character), carefully unbelievable in his type of a well-liked ideologist, and above all, Modugno, who reveals off in probably the most lovely position all his historic values ​​ever supplied to him by Italian cinema, which isn’t knowingly utilizing it.

It has at all times been mentioned critically that in quasi-nihilism what permeates her “Scientific Scopone” opens with an surprising optimistic glimpse of the illustration of those kids, typically examined by the director, whose remaining intervention appears to be cynically resolved right here; and, in keeping with Comencini himself, the determine of Cleopatra “the one one who has the reality” in a world dominated by the senselessness of grownup actions. However fifty years later, the final query the movie sneers at stays the identical: in truth, the answer is his excessive gesture (decided each by the professor’s exhortation to bodily get rid of the “witch” and the necessity for his household to not expose sooner or later to elections that threaten their poor financial stability much more)? Or maybe it will not be extra seemingly that, for the reason that billionaire pretended to simply accept it, as a substitute of tasting it, he earmarked it instantly for the dumpster, thus appeasing a possible new spherical the next yr, condemning the heroes to the perverse declination of fable, everlasting return? There isn’t any catharsis, revolutions are to be misplaced. The capital of evil. And immortal.

September 22, 2022 (change September 22, 2022 | 07:53)

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