Risi uses short fast scenes to tell the road trip story of two opposites: Bruno (Vittorio Gassman), cunning, ball of energy drifter; and Roberto (Jean-Louis Trintignant), a timid law student. Bruno represents the new modern Italy that seeks risky shortcuts to success whereas Roberto offers Italy’s past view of hard-working path towards achieving a prescribed middle class lifestyle, such as the portrayal of Roberto’s boring attorney uncle.

The film is full of gags supported by a light soundtrack to match, boasting some of Italy’s greatest pop hits of the period: “Saint Tropez Twist” by Peppino di Capri, Quando, Quando, Quando (in above video trailer) performed by Emilio Pericoli, “Guarda come dondolo” and “Pinne Fucili ed Occhiali” by Edoardo Vianello and “Vecchio frac” by Domenico Modugno. From this aspect, it offers an authentic mirror to the period’s mores, lifestyles, and aspirations.

In this context, the B24 1958′s Lancia Aurelia, a tiny convertible sports car Bruno is driving is inline with his speedy personality, his fast-talking style and the endless use of the horn every time he prepares to overtake another car or when he arrives at a new destination. This element is extenuated further in the race scene between the Lancia Aurelia and a Fiat 500: new vs. past; fast luxury vs. functional transport.

The story takes place during Ferragosto (traditional Italian holiday celebrated on August 15), where Rome is vacated from its residents (see similar contemporary film during this time of year: Mid-August Lunch – Pranzo di ferragosto by Gianni Di Gregorio – 2008). The pair is driving on Via Aurelia, an ancient road that like the scenic U.S. Route 101 in California – represents a sort of escapism from urban Rome.

As you watch this film through today’s lenses think about what was the outcome of Risi’s prophecy for Italy? Was he right? And also, what other modern phenomenon it may sound the alarm for?

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This film, which is part of the Italian Comedy genre (commedia all’italiana), a term coined after Pietro Germi’s two years earlier gem – Divorce Italian Style – Divorzio all’italana, also benefited from three “historical constraints.” The first, the absence of divorce laws in Italy, which arrived only ten years later with a 60-40 majority vote; the second, an ancient Italian statue that absolved a rapist if he marries his victim; and third, the importance of protecting the family honor no matter what in a fairly conservative Sicilian society of early 60’s.

These opposing constraints produced colossal “plot fireworks” when Germi threw in the sordid event of a sixteen years old girl that was “seduced and abandoned” – most likely inspired by a jargon title used in similar news stories at the time.

Germi utilizes these solid foundations to ironically criticize the social, religious and political conditions of a society undergoing massive changes during Italy’s Economic Boom (aka Boom economico) of early 60’s. Against the backdrop of economic growth and prosperity of the north, Sicily is portrayed as a backwards society with its own rules and social mechanics designed to protect the family honor.

Germi intentionally creates his characters as grotesque, at times violent, delivering double standards to produce the genre’s core formula: comedy mixed with bitter criticism of real social problems. From this angle you can trace down the origin of Italian comedy emanating from Neorealism documentary roots, evidenced even with a simple close-up study of locals’ authentic faces gathering in the piazza.

The film brings together an amazing cast with some of the main characters leveraging their Sicilian roots: the volcanic performance of Don Vincenzo Ascalone played by Saro Urzì who was born in Catania, the sissy brother Antonio Ascalone – (Lando Buzzanca) and the scoundrel Peppino Califano (Aldo Puglisi) – both actors born in Palermo.

And beautiful Stefania Sandrelli plays Agnese Ascalone as the innocent girl turned hysterical due to her placement right in the eye of the storm threatening the family honor. From this perspective, honor is perhaps the most important character of the film. Ever so fragile, underscoring the clear boundaries between the public space presented by the fake shows Don Vincenzo occasionally “broadcasts” to his neighbors, vs. the private space – inside their home where he let loose all his rage. Always shutting doors first to make sure the dirty laundry is only washed in complete privacy.

The film was shot in quaint town of Sciacca on the southwestern coast of Sicily, where its white alleys perfectly extenuated the actors’ black costumes. This binary color template works as another ironic layer since the reality presented is far from black and white carrying many shades of grays.

One of the film’s funniest quotes that reveals the absurd logic Germi uses to eloquently criticize social mores, comes from Peppino Califano who even though committed the sin, doesn’t want to marry Agnese because she’s not virgin and his rationale is:

It’s a man’s right to ask and a woman duty to refuse.”

And just so you don’t get the wrong impression, Italian society has dramatically changed since this film was released in 1964. According to the most recent statistics done in 2008, more than 84,000 out of Italy’s 60 million residents were separated and 54,000 divorced with a 4% increase annually. It used to be 12,000 thirty years ago. Part of the reason is economical as divorce cost became more affordable and changes in social dynamics, judging by a recent divorce fair held in Milan to address the needs of this growing cottage industry.

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The story takes us to mid-summer scalding hot Rome, vacant from its residents that are out of town for the annual Ferragosto holiday vacation. The town is left with either old people or relatives that are looking for last moment arrangements for their old family members before escaping.

Di Gregorio plays Gianni, a mid-lifer who lives with his 93 old demanding mother or what in Italian is known as mammone, with no prospects and piling up bills. When the landlord stops by to collect the late rent, this sour lemon appears to turn quickly into lemonade. The deal is simple: the landlord will forget the rent and throw in some expenses cash if Gianni will take care of the landlord’s mother and aunt, while he leaves town in a convertible full of food delicacies, including a young lover.

Gianni and his guests

Gianni reluctantly takes up the offer to ease up his debt burden and from then on becomes the cook and care taker of five old ladies (their first time acting gig!) each carrying her own and often conflicting agenda. This opens up on one hand a stream of comic relief moments, but at the same time sheds light on the dour life of the elderly. From this perspective it reminded me of an early masterpiece from the Neorealism genre that dealt with same issue, but from a more dramatic angle: Vittorio De Sica’s 1952 Umberto D., dedicated to his father.

The film also offers a tempting display of fine Italian cuisine dishes Gianni constantly produces to care for his guests. So be sure to watch the film after having sufficient nutrients.

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The film is titled Kaos as it’s the birthplace of Pirandello in this region. The opening quote reveals its seeming duality:

“…Io dunque son figlio del Caos; e non allegoricamente, ma in giusta realtà, perché son nato in una nostra campagna, che trovasi presso ad un intricato bosco, denominato, in forma dialettale, Càvusu dagli abitanti di Girgenti: corruzione dialettale del genuino e antico vocabolo greco Kàos.”

“…Therefore I am son of Chaos; and not allegorically but in true reality because I was born in the countryside, located nearby entangled woods named Càvusu by the inhabitants of Girgenti dialectal: corruption of the genuine and antique Greek name Kàos.”

-Luigi Pirandello

This statement clearly encapsulates Pirandello’s writing style that is also apparent in the film’s five tales showing how the lines between fantasy and reality often blur; words are worthless and reality can be false or true. It all boils down to how different people process information differently.  And this information could be textual or visual as each one of us carries his own “survival baggage” of experiences and memories to make quick assessment of the reality in front of us.

Since the film is long (182 minutes), I recommend watching it in installments, savoring each tale to its maximum quality.

Franco and Ciccio in the third tale: “La Giara – The Jar”

I especially liked the third tale “La Giara – The Jar” which brings an air of classic fable with a comic flair by leveraging Italy’s epic duo Franco and Ciccio. Human greed and power are downplayed in two ways: Don Lolò (Ciccio Ingrassia) acknowledges life’s misleading aspects as he laments about a poor peasant boy passing by with a huge load on his back:

“Look at that kid. He doesn’t have anything, yet he still has 60 years of life ahead of  him. And I who have all this, how many years left might I have 15, 20…”

And to underscore this point the role of Zi’ Dima (Franco Franchi) shows us how human shrewdness can overcome Don Lolò’s on paper great resources and power. The Pirandellian message is clear: never believe what you see.  It’s up to you to interpret the situation and find your way to meet your truth.

And with such a fine message,
I wish you all a happy and prosperous new year!

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