IL LAVORO – Episode of Boccaccio ’70

Luchino Visconti

Sog.: based on the novel Au bord du lit (1883) by Guy de Maupassant. Scen.: Suso Cecchi D’Amico, Luchino Visconti. F.: Giuseppe Rotunno. M.: Mario Serandrei. Scgf.: Mario Garbuglia. Mus.: Nino Rota. Int.: Romy Schneider (Pupe), Tomas Milian (conte Ottavio), Romolo Valli (avvocato Zacchi), Paolo Stoppa (avvocato Alcamo). Prod.: Carlo Ponti, Tonino Cervi per Cineriz, Concordia Compagnia Cinematografica, Francinex, Gray-Film. DCP. Col.

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

I really like the Il lavoro episode in Boccaccio ’70. I think of it as a sketch of the character of a modern woman, like many that I know, above all in Milanese society: a modern woman who places great importance on money, luxury, cars, a box at the Scala, and all these kinds of things, and does not really care about the truly important things in life. I have been admonished for the emotional moment that she goes through at the end. I think it is consistent with the character. The moment in which she feels almost offended by the fact that her husband pays her is like a moment of pity for herself, and not for the more general situation, which she doesn’t understand at all. It’s like the characters in Chekhov’s The Cherry Orchard; they allow the garden and the cherry trees to be sold without realising that the sale represents ruin – the ruin of a milieu and a society, and not simply of one character. In short, it is the playful moral vendetta of a loving young wife betrayed by her husband’s costly expenditure on ‘shares on the sexual stock exchange’. The rooms, the grey velvet couches, the authentic 18th-century French library in oak, the abstract paintings by Domietta Hercolani, everything that Rotunno’s camera captures represents the world in which the characters live. It is a cold and precious world, lacking the soul that Tomas Milian and Romy Schneider search for but never manage to obtain.

Luchino Visconti, “Filmcritica”, n. 159-160, August-September 1965

Copy From

Courtesy of Surf Film
Restored in 2014 by CSC – Cineteca Nazionale at the Cinecittà Deluxe laboratory with funding provided by Dolce & Gabbana, from the original negative print provided by Surf Film and Video 2/Rti