Sog., Scen.: Age e Scarpelli, Ettore Scola. F.: Claudio Cirillo. M.: Raimondo Crociani. Scgf.: Luciano Ricceri. Mus.: Armando Trovajoli. Int.: Nino Manfredi (Antonio), Vittorio Gassman (Gianni Perego), Stefano Satta Flores (Nicola Palumbo), Stefania Sandrelli (Luciana Zanon), Giovanna Ralli (Elide Catenacci), Aldo Fabrizi (Romolo Catenacci), Marcella Michelangeli (Gabriella), Elena Fabrizi (moglie di Romolo), Amedeo Fabrizi (figlio di Romolo), Federico Fellini, Vittorio De Sica, Marcello Mastroianni, Isa Barzizza, Mike Bongiorno (se stessi), Ugo Gregoretti (presentatore). Prod.: Deantir, Dean Film, Delta. DCP. Bn.
Originally an Italian-style comedy screenwriter and director, Ettore Scola’s more mature phase began with this tableau of the generation that had been part of the Resistance and either saw their hopes dashed or integrated into society. The film follows three partisans across several decades, beginning three years after the war. They are a nurse (Manfredi), a film critic (Satta Flores) and a successful lawyer (Gassman). Their love for Luciana (Sandrelli) is what unites them and divides them. The cinema of those years followed the rise and fall of history and is affectionately incorporated throughout the film, with appearances by De Sica and Fellini. Two memorable supporting characters also stand out: absent-minded Elide (Giovanna Ralli), the uncouth daughter of a pro-fascist Roman contractor, whom Gassman marries and transforms into a sophisticated, unhappy woman ‘à la Antonioni’, and her father, the cruel Romolo Catenacci, played by Aldo Fabrizi in his last great role. “I don’t die,” says Catenacci, gasping in the last part of the film, and his character in fact represents the tenacity of malevolent and ineradicable national characteristics.
Scola chose Fabrizi (who won the Nastro d’argento for best supporting actor in this role) as the perfect mask of a good and comforting Roman, but he removes every positive nuance and transforms him into a monster. Similarly, the comedy genre of those years was increasingly bitter and pessimistic, turning into tragedy.
Courtesy of Dean Film
Restored in 4K in 2016 by CSC – Cineteca Nazionale, with funding provided by StudioCanal, from the original negatives provided by Pio Angeletti and Adriano De Micheli’s Dean Film. Color grading carried out at L’Immagine Ritrovata laboratory, supervised by Luciano Tovoli in collaboration with the film’s DoP Claudio Cirillo