In love with sharp turns

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Movie
German title In love with sharp turns
Original title Il sorpasso
Country of production Italy
original language Italian
Publishing year 1962
length 105 minutes
Age rating FSK 18
Rod
Director Dino Risi
script Ettore Scola
Ruggero Maccari
Dino Risi
production Mario Cecchi Gori
music Riz Ortolani
camera Alfio Contini
cut Maurizio Lucidi
occupation

The Italian film comedy Il sorpasso, made in 1962, was released in cinemas in the Federal Republic of Germany under the distribution title in love with sharp curves . The original title of the fictional film literally describes “the overtaking”. The film's director, Dino Risi , also co-wrote the screenplay, originally written by Ettore Scola and Ruggero Maccari . Vittorio Gassman and Jean-Louis Trintignant play two men with completely different characters. A sense of humor arises from their contradictions, which is grounded with a deep tragedy. The work portrays Italy at the height of the economic miracle in the post-war period , its transformation into a consumer society and the crumbling of traditional ideas of marriage, family and patriarchy . It takes a skeptical attitude towards the consumer orientation and especially the popularization of the car. The film was the most popular domestic production of its year in Italy, is a central work of the Commedia all'italiana and is considered Risi's most artistically successful film.

action

Bruno drives the Lancia Aurelia B24 convertible.

In midsummer, on Ferragosto , the streets of Rome are completely deserted and all shops are closed. Bruno, forty years old, is circling around in his Lancia Aurelia looking for a phone. He wants to inform a woman who has agreed to meet him that he will be late. In the open window of a house, he discovers an unknown young man who allows him to use his phone. Roberto is a law student and crams for the upcoming exams. Since Bruno's appointment has broken off, he persuades the reluctant Roberto to take him for a drink.

You drive on the Via Aurelia along the Tyrrhenian coast and get to know each other a little. The search for an open bar and the chase with two German tourists lead her further and further away from Rome. When Bruno retires for a siesta after a fish soup in Civitavecchia , Roberto goes to the bus station. He would rather use the opportunity to visit his uncle and several aunts in the nearby, rural Grosseto , with whom he grew up and whom he has not seen for many years. Bruno picks him up beforehand and drives him to the relatives. With these, Bruno, the stranger, displaces Roberto from the focus of interest. He discreetly opens Roberto's eyes to the fact that a cousin, because of his resemblance, has been conceived by the estate manager and not by the uncle, and immediately recognizes a “country fagot” in the housekeeper. Bruno quickly feels bored by the surroundings, so that they leave before evening. Roberto has realized how inaccurate his childhood memories and his image of the family have been, and has doubts about his way of life.

Viareggio beach on a postcard from 1955

With an aggressive driving style, Bruno turns two motorists against him. While stopping in a small town, he runs into a believer whose evening party he has to join. Meanwhile Roberto dares to have a conversation with a girl at the station; but she will soon be picked up by a friend. Since the train to Rome that he was going to take won't come until morning, he goes to see Bruno in the pub. This is involved in a fight by the angry drivers. Damaged, Bruno and Roberto go to Bruno's wife, who lives separately from him in a house. Their daughter Lilly has a fiancé, an elderly wealthy industrialist, whom she intends to marry out of a need for security. Bruno's attempts to pretend to be a father fail miserably in the face of mother and daughter. So it happens that Bruno and Roberto spend the night in beach chairs. The company spends the next day on the rich man's motor yacht and on the beach, where Bruno tries to outdo his fiancé with water skiing and ping-pong . Roberto finds the courage to call the girl in his neighborhood, with whom he is in love, but whom he has never spoken to, in her holiday resort of Viareggio . He is told that she will only be available in the evening. Bruno spontaneously agrees to drive Roberto to see her. On the way on the coastal road Roberto announces that he has just spent the best two days of his life and enthusiastically cheers on Bruno, who is carrying out risky overtaking maneuvers. Suddenly they have to avoid an oncoming truck. Bruno barely escapes from the car and is only scratched, while Roberto falls down the cliff in the car and perishes.

Figures, shape and themes

Bruno and Roberto

Bruno appears daring and self-confident, extroverted and eloquent, easy-going and carefree. He appears “cocky, but not without charm, never at a loss for a quick-witted answer or a sleight of hand”. He shows dexterity in “arrangiarsi”, the ability of some Italians to improvise with cunning, seductiveness and audacity and to get along with life. He immediately finds familiar contact with strangers. Of course, these relationships remain superficial and short-lived. His lonely rounds at the beginning of the film and the unsuccessful phone call to a woman who had an appointment with him show Bruno in a situation of social isolation. This is the first in a series of failed attempts to get a woman to have sex. It was often noted that his “vehement security”, his “forced amusement” and “excessive hedonism ” are an escape from self-knowledge and a precaution against loneliness, emptiness and fear of death. He is facing an "unfulfilled, unmastered existence", and the overtaking maneuvers represent a "powerless revenge on the failures of existence".

Ultimately, Bruno is a simulator: his zest for life and his indifference to social problems are the result of an effort - he tries to adapt his appearance to that of an upper class that does not recognize him as one of theirs. A deal has broken down, he owes a partner a sum and doesn't even have change with him on his trip. His life is staged, he plays greatness, "read on the speedometer ". He acts morally irresponsible. When he says: "We drivers have to stand by one another", he means helping one another to circumvent regulations and laws. In the words of the director, Bruno is “someone who destroys because he cannot build, a typical Italian, superficial, fascist. He is powerless, indecisive, strong in his physical behavior, in astonishing, but without real qualities, without morals. "

In his demeanor Roberto is the opposite of Bruno. Introverted, hesitant and inhibited, the shy student behaves dutifully and modestly. He is committed to the “old” values ​​of doing without, building up savings and investing. As a result, he is devoted to his studies, does not smoke and cannot drive a car. He often feels overtaken by what is happening around him. He doubts his decisions and wonders if he is leading the right life. Bruno advises him to throw himself into life. Roberto replies that he often wished for that, but then paused because he didn't know where he was going to end up.

Vagabond narrative

As a film of being on the move, in love with sharp curves is often assigned to the road movie , or as a mixture of it and a “beach / vacation film”. By letting their protagonists travel, the authors can more easily measure and describe Italian society. The narrative has no stringent dramatic arc, it strings episodically stand-alone punchlines and briefly sketched caricatures. Some characters have meaningful names , such as Uncle Occhiofino (the colloquial term finocchio refers to a gay person ). During the first half in particular, according to Cattivelli (1964), the film appears like a “miniature painting”, “a small colored mosaic of purring ideas, coincidences, encounters, little adventures”. The two protagonists make decisions and soon drop them in favor of new ones.

Shot from In
love with sharp curves
Roberto (left) and Bruno
Link to the picture
(Please note copyrights )

The comedy and tension of the film do not arise from the course of the plot, but from the contrast between the two protagonists. Juxtaposed, each throws an illuminating light on the other. Bruno says some things that Roberto thinks but doesn't dare to say. Although Bruno dominates the scenery due to his extroverted personality, Roberto has his own space reserved because he is allowed to convey his thoughts to the audience as inner monologues . Before these monologues, Bruno appears all the more thoughtless. Nevertheless, he gives his younger companion advice for life, including taking a girl, otherwise he will be "lonely as a dog" in old age. Throughout the whole story, Bruno always somehow gets away with it, Roberto always remains a loser. "The innocent," the lamb ", the designated sacrifice, pays for the sympathetic, irresponsible, the only beneficiary of divine grace."

Tragicomic

In Love with Sharp Curves , comedy and tragedy mix, an essential feature of the genre of the Commedia all'italiana. A happy ending that reconciled the characters with one another or with society is not common in these films. Where such an end seems to be looming, it is often abruptly broken off. The narrated journey to death is a brief outline of the whole genre, said Bernardi (1993). “The Commedia all'italiana is a panting, confused, happy and painful run towards death.” For Roberto, the Icarus of the present, the car is the pair of wings that carry him towards the abyss. In 1964, however, the film-dienst found that compared to the main part of the film, in which Bruno exerted a fascination on the audience, the ending had too little weight to act as a “sufficient corrective”. While some people believe that Roberto's death comes unexpectedly for the audience, others see the fatal end announced in advance by signs, for example by the cemetery where they arrive after the German women are being chased, or by an accident truck on the edge of the road.

The cliffs at Calafuria , the area where the film ends.

The tragicomic gives the work a layered character. “At first, Dino Risi's film is just a series of funny episodes, Bruno plays and Roberto is amazed. But even visiting relatives is more, the director lingers, paints, the outlines of the characters become sharper. The carelessness is no longer entirely real, what follows is melancholy ”, Nettelbeck (1964) found. Cattivelli (1964) explained that behind the sequence of incoherent scenes there was slowly fermenting “something more subtle and consistent: the story of an incipient friendship. A kind of osmosis takes place, which blurs the initially schematically contrasting outlines of the two figures and gives one something of the other. ”In the background there is an almost imperceptible melancholy, which gradually allows a second level of the narrative to be felt. And according to Gili (2008), Risi initially wanted to entertain with his style so that the viewer could more easily get used to the unbearable. Il sorpasso is only partly a comedy; "The drama is inseparable from laughter, the tragedy of the human condition is adorned with the tinsel of irony, derision and cynicism." In the last scene, when Bruno looks down at the broken car, a risk develops between violence and tenderness Poetry of desperation.

Simple pictures, jazz and twist

Risi allows himself a swipe at his world-famous director colleague Michelangelo Antonioni . Bruno remarks to Roberto: “Did you see love in 1962 ? I fell asleep, how boring ... ”This allusion to Antonioni's film can be interpreted as a mocking attitude towards an intellectual cinema and as an emphasis on an antagonism between the popular comedies and the" serious "filmmakers. In love with sharp curves , like other films of the Commedia all'italiana , dispenses with the sophisticated aesthetics in Italian auteur cinema, to which Antonioni was one . The camera always observes the protagonists from a certain distance and mostly using longer focal lengths. Their fast movements and a high cutting speed determine the speed of the film. According to Fournier Lanzoni (2008), this rhythm gives the impression of instability and that the fate of travelers hangs by a thread.

The score is made up of fast-paced jazz pieces that Riz Ortolani wrote for the film and popular Italian hit songs of the era. These include Guarda come dondolo by Edoardo Vianello , which is played three times in the film, St. Tropez twist by Peppino di Capri , which can be heard twice, and Vecchio Frack by Domenico Modugno . Depending on your point of view, they are “popular pop melodies” or an “acoustic background of garish, howling, whispering and repetitive twist melodies ”.

A nation in the fast lane

During the 1950s, Italy experienced an economic miracle. The gross domestic product grew at annual rates of over 5%, from 1958 to 1963 even with an average of 6.6%. The country thus surpassed Western European nations such as France or Great Britain, and at the end of the decade also the Federal Republic, and caught up a considerable part of its lagging behind Western Europe. The export-strong industry in particular flourished. Between 1950 and 1963 the number of passenger cars manufactured increased to 1.1 million. In Love with Sharp Curves was one of the first film comedies to deal with the social change that the economic miracle had triggered in Italy. In 1962, the year the film was made, the economy reached its peak. In the snapshot of this change, concerns about the emerging consumer society reverberate . Film historians consider the work a valuable illustration of Italian society in the early 1960s. A whole catalog of the available, emerging consumption possibilities is being fanned out, accessible via a dense network of supermarkets, night clubs, cigarette machines and payphones. These points of sale are very present in the film, as are the car radios and jukeboxes that expanded the listening opportunities. Ironically, when the movie starts in Rome, all shops are closed because almost the entire population is following the leisure and vacation opportunities outside the city. The action is set in leisure time, it leaves out the working world. The story takes account of the rural exodus that took place in Italy at that time by mainly taking place on the coasts and in the cities and keeping the detour to the country short.

The scene in which Bruno overtakes a cyclist and calls out to him to buy a Vespa shows the development of mobility, from the bicycle to the Vespa and the Fiat 500 , which came on the market in 1958, to the sports car. The automobile changed from a luxury to a mass consumer good; the number of cars soared from 240,000 in 1950 to nearly 4 million in 1963. At the beginning of the 1960s, Italy had the longest motorway network in Europe. At the same time, it was the last western country that passed traffic legislation in 1959. The increased volume of traffic had caused the number of accidents and road deaths to rise sharply. In the worst year, 1960, there were 276,000 road accidents in Italy with 7,680 deaths. Bruno is armed with all the accessories that many Italian motorists used to carry with them at the time: driver's gloves , a Corno that hangs on the rearview mirror as a good luck charm, and a figure of saint on the dashboard. The interior of the car is also adorned with a plaque with the portrait of Brigitte Bardot and the inscription Sii prudente. A casa ti aspetto io ("Drive carefully. I'll be waiting for you at home").

The function of the car as a means of transportation takes a back seat to its role as a status symbol. For Celli / Cottino-Jones (2007) it symbolized the dynamism, unpredictability and sexual vitality of unleashed social change. It serves Bruno as an extension of his body. Bruno's aggressive overtaking and asserting other road users is also understood as a gesture with which he wants to assure himself of his social superiority over those who can only afford cheaper vehicles. Despite fatherhood and failed marriage, he strives to extend his youth. Once the Aurelia sport was a symbol of advancement, power and strength that allowed older men to pretend to be younger than they were; In 1962, this status symbol is already old, is no longer in production, and Bruno's copy has poor repairs to the paintwork.

Change of values ​​and customs

In addition to economic change, Risi's satirical view captures the customs of his presence and the lived ideas of marriage and family. The modernization shook the traditional patriarchal structure of the country, women were less and less patronized by fathers in choosing a partner and by husbands in their way of life. The increased mobility threatens family cohesion, suspected skeptics in the arch-Catholic as well as in the left wing camp.

At the beginning Roberto still feels obliged to the old values. He is ready, against his conviction, to pursue a career as a lawyer because the family expects him to do so. He has a shy crush on a girl from the neighborhood. Bruno smiles at this bond with one girl as an outmoded attitude; for him sex is another consumer good. But by venting the family secrets, Roberto discovers, like many Italians in those years, that many people behind the facade of traditional morality do not care about these values.

One can see in Roberto and Bruno representatives of certain Italian classes. While Roberto's relatives are “solidly bourgeois”, Bruno's family is modern through and through: disintegrating, mobile and pleasure-oriented. Bruno and his wife live separately but are not formally divorced because divorce was only legally possible in Italy from 1970. His precarious professional status contrasts with the success of his wife, who has a well-paid job in the advertising industry, i.e. at the very heart of consumer society. She treats him like a stubborn child.

If Roberto stands for the typical Italian of the immediate post-war period, who respects and wants to maintain the social order and surrenders to his fate, Bruno represents the emerging Italy that followed, euphoric and carefree. With Roberto's death, the story draws a drastic allegorical conclusion. As soon as he is uprooted from his protective tradition, he loses his demeanor, becomes entangled in a culture of consumption and speed, and the story only allows his sudden accidental death. According to Gili (1983), the work portrays a society on the run forwards, a society that cannot pause for a moment for fear of becoming aware of the artificiality of its well-being, for fear of discovering nothing behind the facade . The death of Roberto makes Bruno aware of exactly that, leads him from an animal life into the day to humanity. In contrast, Günsberg (2005) saw the end of interpersonal relationships from the pre-consumer era and assumed that Bruno would buy a new car and find a new “friend”. Midding (2010) said: "Risi was firmly convinced that it was precisely the tragic outcome that made the film so successful: it struck the barbarism of the boom." The director did not want to accuse the Italians or justify them. As a "honest hedonist" he viewed his compatriots' lust for pleasure with skepticism and traced how they had become more and more materialistic and selfish. Risi neither mystifies nor demystifies his heroes; it is limited to an objective description.

Production, Box Office Success, and Aftermath

In love with sharp curves was the second collaboration between Dino Risi and Vittorio Gassman, who made a total of fifteen films together. In his many film appearances, Gassman had only held supporting roles. According to Risi, he was first and foremost a stage actor of sublime quality, and it was easy for him to win him over to the comic role of Bruno and to use his dormant talent. Gassman succeeded in a rarely occurring change, because mostly comedians wanted to become serious actors. In addition, it was Gassman's first comedic role in which he was allowed to act without a lot of mask and dramatic exaggeration, for which he was grateful to the director. Based on the script that Ettore Scola and Ruggero Maccari had written, Risi brought further ideas into the film while shooting.

In the domestic market, Il sorpasso was the most successful film of 1962, with 1.3 million entries and revenues of 1,293,000,000  lire . In the following year Risi presented Il successo (literally "Success"), again with Gassman and Trintignant. Il successo was unable to build on the success of the first film in Italy and was just as rare in the cinemas in the co-production country as in Germany. In Latin America, where Il sorpasso was very successful, the term “sorpasso” has since been used to describe an imposing, irresponsible bon vivant.

The narrative style of In Love with Sharp Curves paved the way for some episodic films that were produced in Italy from 1963. One of them was Frivole Games (1964), Ettore Scola's directorial debut. In one of the episodes, Gassman gives a very similar figure to Bruno: the driver of a sports car (with the same horn tone) who wants to get a woman to bed. The American filmmaker Dennis Hopper inspired Risi's film for his 1969 film Easy Rider . The title of his film suggests Il sorpasso's US distribution title , The Easy Life . On the journey of two men he, too, draws the state of a nation and ends fatally for the heroes. In German films you can find Im Lauf der Zeit (1976) by Wim Wenders . In it, the two protagonists travel along the German-German border , experience the mood of the people and grapple with their difficult relationships with women. They have the first names Robert and Bruno, but their story does not end tragically.

reviews

Contemporary criticism

Even before the film was shown in the Federal Republic of Germany, the magazine Filmkritik announced that the reviews of Italian and French film culture magazines were positive without exception. One of them was Michel Delahaye's in the Cahiers du cinéma : “ Il sorpasso is a film of the surface, that touches you above the surface, but tickles you ceaselessly in the depths. Risi is a trained doctor and has remained one: he practices acupuncture. ”The beauty of the film stems from what initially defines the medium of film, its surface, but the director lets it reproduce everything that a surface can reproduce, namely the shape of the lying in the deep. Risi registers the manners and fashions of contemporary society, the small imponderables that set the mood of a time and that disappeared forever before the invention of the Lumière brothers . " Il sorpasso is also a very funny film."

In love with sharp curves started in the Federal Republic in January 1964. In a short review, Der Spiegel called the film "funny, quick and worth considering, but also a little weepy." At that time , Uwe Nettelbeck judged : "II Sorpasso" is an ambiguous film, enjoyable and sound, funny and melancholy at the same time. It describes a state in motion. ”But also:“ II Sorpasso ”is a small film that tells a lot of things quite safely and carefree, intelligently and deliberately, but which in the end is more entertaining than providing insight. Formally, he is discouraged and stuck halfway, and with all the sharpness with which reality is described, Risi always makes himself comfortable with cinema solutions. ”The Frankfurter Allgemeine Zeitung praised the achievements of Gassman and Trintignant. The original title Il sorpasso indicates the positive sides of Risi's film, while the German title corresponds to its weaknesses. The frenzy leads to an "amusing chain of momentary encounters, non-committal dazzling, at times of drastic comedy", and the visit to Roberto's relatives represents "an episode that is attractive in its psychological tension". In contrast, the scenes on the beach and in the bars remained a cliché of the "sweet life" because "the chance kaleidoscope splintered under the pressure of too much". Roberto's death is not an imaginative one, but a "logical and pathetic finale".

In Germany, Dino Risi is not respected, said Ulrich Gregor from the film critic . He found Vittorio Gassman admirable, "with an exuberant temperament, apparently obeying spontaneous inspiration, but in reality controlled down to the smallest muscle stimulus and standing critically beside his role." Risi portrayed the characters with apt observations. “The camera keeps catching details that come from contemporary reality, seemingly by chance. (...) Il sorpasso also has a documentary side, and it's not the worst of the film. ”During Bruno's conversations with his daughter,“ the otherwise incorruptible look of the film seems to be tinged with romance. ”But overall the work is an important one Contribution to the interpretation of contemporary Italian society. However, Risi lacked consistency in telling the story to the end on a realistic level. Instead, he introduces “an obscure fate that cuts off the conflicts precisely at the point where a decision or important developments would have been expected. The violent final turn of the film could also be reduced to the trivial hint that it is better to drive slowly along the winding roads. "

The film-dienst stated that in the Federal Republic of Germany a considerable number of critics misunderstood the film as a pure comedy, to which the tragic final turn consequently did not fit. The exuberant events show signs of subtle humor, but beneath the surface there is a tension between two completely different lifestyles. The extreme personalities of Bruno and Roberto influenced each other and “pushed towards the elusive core of a middle of life that could ultimately prove to be inseparable from those coordinates of cheerfulness and melancholy, so masterfully kept in suspension in the formal sense. The admirable achievement of the director Dino Risi is to have derived this development from a wealth of documentary precisely observed episodes. "

Awards

In 1963, Vittorio Gassman won the two most important film awards in Italy, the Nastro d'Argento and the David di Donatello, as the best leading actor . At the film festival in Mar del Plata, Argentina, the jury named Dino Risi the best director.

Later assessments

The work is now considered Risi's masterpiece. Fournier Lanzoni, author of a monograph (2008) on the Commedia all'italiana, judged Risi to show a sense of the right measure in the management of his actors and for sober narration, and thus induce the audience to think without giving him a moral point of view to impose. In 2004 L'Avant-Scène Cinéma published a short review of the French DVD edition. Being in love with sharp turns is an extraordinary pleasure and, together with I mostri , is obviously one of Risi's masterpieces.

When Dino Risi died in 2008, the film was mentioned in the obituaries among his works the most and was represented in the most detail, even before The Scent of Women (1974). Gerhard Midding explained in epd Film : “Dino Risi's most famous film celebrates life in a state of availability and at the same time objects to what Pasolini scourged as» consumerism « at the time . Gassman gives Bruno a tremendous, captivating and queasy vitality. ”Rolf-Ruediger Hamacher from film-dienst saw the film as a classic. "In this intimate play in a convertible, Risi's greatest virtues are congenially combined: his precise observation of people and situations, which despite all the lightness always make you thoughtful, as well as his precise actor management." In the Frankfurter Allgemeine Zeitung , Andreas Kilb wrote : "" Il sorpasso "(...) is his best film because he is aesthetically serious about wandering around."

Web links

Individual evidence

  1. ↑ a b c d e film service , no. 16/1964, drawn by "Ev."
  2. ↑ a b c Gerhard Midding: Anything but pink. A rehabilitation of the “Commedia all'italiana”. In: Filmbulletin , No. / 2010, pp. 12–13.
  3. ↑ a b c d e f Ulrich Gregor: In love with sharp curves. In: Filmkritik , No. 2/1964, pp. 77–79.
  4. ^ Angelo Restivo: The nation, the body and the autostrada. In: Steven Cohan, Ina Rae Hark (Eds.): The road movie book . Routledge, London and New York 1997, ISBN 0-415-14936-3 , p. 235.
  5. ↑ a b c d e f g h Maggie Günsberg: Italian cinema. Gender and genre. Palgrave, New York 2005, ISBN 0-333-75115-9 , p. 82.
  6. ↑ a b c Restivo 1997, p. 234.
  7. ↑ Dino Risi in conversation with Positif , September 1972, pp. 27–28; Paul-Louis Thirard in Cinéma 63 , cit. in: Filmkritik , No. 1/1964: In love with sharp curves ; EMD: In love with sharp turns. In: Frankfurter Allgemeine Zeitung , May 19, 1964, p. 23; Jean A. Gili: Dino Risi 1916-2008. L'ombre du moraliste. In: Positif , September 2008, pp. 70–71.
  8. ↑ a b Midding 2008, p. 12, and 2010, p. 12.
  9. ↑ a b c Giulio Cattivelli in Cinema nuovo , cit. in: film review. No. 1/1964: In love with sharp turns
  10. ↑ a b c Sandro Bernardi: La comédie à l'italienne. In: CinémAction No. 68, Panorama des genres au cinéma . Corlet, Condée-sur-Noireau 1993, ISBN 2-85480-848-7 , pp. 92-97.
  11. ^ Paul-Louis Thirard in Cinéma 63 , cited above. in: film review. No. 1/1964: In love with sharp turns
  12. ↑ a b c d e Uwe Nettelbeck: In love with sharp curves . In: Die Zeit , February 7, 1964
  13. ^ Rémi Fournier Lanzoni: Comedy Italian style. Continuum, New York 2008, ISBN 978-0-8264-1822-7 , p. 91.
  14. ^ Dino Risi in conversation with Positif , September 1972, pp. 27–28.
  15. ↑ For descriptions of Roberto's character see Michel Delahaye: Passe ou manque. In: Cahiers du cinéma , September 1963, pp. 52-53; Ulrich Gregor: In love with sharp turns. In: Filmkritik , pp. 77–79; Restivo 1997, p. 23; Fournier Lanzoni 2008, p. 90; Gerhard Midding: Anything but pink. A rehabilitation of the “Commedia all'italiana”. In: Filmbulletin , No. / 2010, p. 12.
  16. ↑ a b Yves Alion: Les Monstres / Le Fanfaron. DVD review in: L'Avant-Scène Cinéma , No. 9/2004, pp. 89–90.
  17. ↑ a b Spiegel Online , June 8, 2008: The fragrance of women. Director Dino Risi has died
  18. ^ A b c d e Carlo Celli, Marga Cottino-Jones: A new guide to Italian cinema. Palgrave, New York 2007, ISBN 978-1-4039-7560-7 , p. 90.
  19. ↑ a b Yves Alion: Entretiens avec Dino Risi. In: L'Avant-Scène cinéma No. 514, September 2002, p. 96.
  20. ^ Rémi Fournier Lanzoni: Comedy Italian style. Continuum, New York 2008, ISBN 978-0-8264-1822-7 , p. 75.
  21. ↑ Restivo 1997, p. 236, and Fournier Lanzoni 2008, p. 90 and p. 131, footnote 16
  22. ↑ Fournier Lanzoni 2008, pp. 73, 90 and 93
  23. ↑ a b c Michel Delahaye: Passe ou manque. In: Cahiers du cinéma , September 1963, p. 52.
  24. ↑ Daniel Serceau: La Comedie Italienne: une bonne blague? In: CinémAction No. 82, Le comique à l'écran . Corlet, Condée-sur-Noireau 1997, ISBN 2-85480-907-6 , p. 103.
  25. ↑ Fournier Lanzoni 2008, p. 72.
  26. ↑ Jerry Vermilye: Great Italian films. Carol Publishing Group, New York 1994, ISBN 0-8065-1480-9 , pp. 142-143.
  27. ↑ Fournier Lanzoni 2008, p. 32.
  28. ↑ a b c Jean A. Gili: La comédie italienne. Henri Veyrier, Paris 1983, ISBN 2-85199-309-7 , p. 125.
  29. ↑ a b Fournier Lanzoni 2008, p. 91.
  30. ^ Jean A. Gili: Dino Risi 1916-2008. L'ombre du moraliste. In: Positif , September 2008, pp. 70–71.
  31. ↑ a b Fournier Lanzoni 2008, p. 92.
  32. ↑ a b c d Gerhard Midding: A hedonist and cynic. Dino Risi, director 1916–2008. In: epd Film No. 7/2008, pp. 12-13.
  33. ↑ a b c d Fournier Lanzoni 2008, p. 93.
  34. ↑ Restivo 1997, p. 235.
  35. ^ Hans Woller: History of Italy in the 20th century. CH Beck, Munich 2010, ISBN 978-3-406-60158-3 , pp. 251-258.
  36. ↑ a b Fournier Lanzoni 2008, p. 89.
  37. ↑ Fournier Lanzoni 2008, p. 54 and p. 93, Restivo 1997, p. 234.
  38. ↑ Fournier Lanzoni 2008, p. 56.
  39. ↑ Woller 2010, p. 260; According to Fournier Lanzoni 2008, p. 56, the stock increased from 340,000 to 5,500,000 vehicles between 1954 and 1965.
  40. ↑ Fournier Lanzoni 2008, p. 57.
  41. ↑ Fournier Lanzoni 2008, p. 56 and p. 79, footnote 20
  42. ↑ a b Fournier Lanzoni 2008, p. 90.
  43. ↑ Woller 2010, p. 262; Restivo 1997, pp. 236-237.
  44. ↑ Woller 2010, pp. 260-263.
  45. ↑ Fournier Lanzoni 2008, p. 62.
  46. ↑ Restivo 1997, pp. 235-236.
  47. ↑ On the introduction of divorce in Italy see z. B. Woller 2010, p. 302.
  48. ↑ Günsberg 2005, p. 96.
  49. ↑ Restivo 1997, p. 236.
  50. ↑ Fournier Lanzoni 2008, pp. 74-75.
  51. ^ Dan Yakir: Scent of a woman. In: Frank N. Magill (Ed.): Magill's Survey of Cinema. Foreign Language Films Volume VI. Salem Press, Englewood Cliffs 1985, ISBN 0-89356-243-2 , p. 2669.
  52. ↑ Restivo 1997, p. 237.
  53. ↑ Günsberg 2005, p. 83.
  54. ↑ Midding 2008, p. 12, and 2010, p. 13.
  55. ↑ Dino Risi in La Repubblica of June 30, 2000, printed in French in Positif , October 2000, p. 72.
  56. ↑ Fournier Lanzoni 2008, p. 131, footnote 20; Vittorio Gassman in conversation with Positif , October 2000, p. 76, 2nd column
  57. ^ Vittorio Gassman in conversation with Positif , October 2000, p. 76, 1st column
  58. ↑ Fournier Lanzoni 2008, p. 89 and p. 131, footnote 14; Carlo Celli, Marga Cottino-Jones: A new guide to Italian cinema. Palgrave, New York 2007, ISBN 978-1-4039-7560-7 , p. 175.
  59. ↑ Note in Risi's filmography in L'Avant-Scène cinéma No. 514, September 2002, p. 86.
  60. ↑ Fournier Lanzoni 2008, pp. 89-90.
  61. ^ Yves Alion: Entretiens avec Dino Risi. In: L'Avant-Scène cinéma , No. 514, September 2002, p. 96.
  62. ↑ movie review , No. 1/1964. Il Sorpasso
  63. ↑ Der Spiegel No. 11/1964 of March 11, 1964, not drawn. "New in Germany" section: In love with sharp turns
  64. ↑ EMD: In love with sharp turns. In: Frankfurter Allgemeine Zeitung , May 19, 1964, p. 23.
  65. ↑ Fournier Lanzoni 2008, p. 73.
  66. ^ Rolf-Ruediger Hamacher: Dino Risi. In: film service . No. 14/2008, p. 18.
  67. ↑ Andreas Kilb: Life is not a laughing stock. In: Frankfurter Allgemeine Zeitung . June 9, 2008, p. 37