Commedia all'italiana: Three Films by Dino Risi – Radiance Films (Blu-ray)
Theatrical Release Date: Italy, 1959 (Il vedovo), Italy, 1960 (Il mattatore), Italy, 1962 (Il Sorpasso)
Director: Dino Risi (All Films)
Cast: Alberto Sordi, Franca Valeri, Livio Lorenzon, Nando Bruno, Ruggero Marchi, Gastone Bettanini, Leonora Ruffo (Il vedovo), Vittorio Gassman, Dorian Gray, Anna Maria Ferrero, Mario Carotenuto, Alberto Bonucci, Fosco Giachetti, Peppino De Filippo (Il mattatore), Vittorio Gassman, Catherine Spaak, Jean-Louis Trintignant, Claudio Gora, Luciana Angiolillo, Linda Sini (Il Sorpasso)
Release Date: August 21st, 2023
Approximate running times: 90 Minutes 54 Seconds (Il vedovo), 103 Minutes 12 Seconds (Il mattatore), 108 Minutes 29 Seconds (Il mattatore)
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Il vedovo), 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Il mattatore), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Il Sorpasso)
Rating: 15 (UK)
Sound: LPCM Mono Italian (All Films)
Subtitles: English (All Films)
Region Coding: Region B
Retail Price: £39.99 (UK)
"Comedy ruled the box office in Italy from the late 1950s to the 1970s where the commedia all’italiana also found critical success. Great talent behind and in front of the camera delivered a series of brilliant films that gave an incredible spin on familiar genres with comedic overtones that often held a dark and biting critique of social mores that would provoke a challenge to a society in need of change. Feted at local awards ceremonies and European festivals as well as garnering attention from the Academy Awards this prestige would propel the films and filmmakers to international stardom but many would go unreleased in the UK for home viewing. At last, this ongoing series shines a light on this misunderstood filmmaking style with the first collection focusing on three films by master director Dino Risi, presented from new restorations and featuring a suite of contextualising extras.
From a prestigious lineage in the ancient art of satirical theatre in commedia dell’arte, the Italian-style comedy distinguished itself in the late 1950s from the earlier broad comedies popularised by the likes of Toto and Vittorio De Sica with a ruthless approach to social satire focused on cynicism and the grotesque. An early example of the switch in tone can be found in Dino Risi’s Il vedovo, in which Italy’s preeminent comedy actor Alberto Sordi plays a philandering husband of a wealthy and successful woman who simply tolerates her husband's ineptitude. Until he sees a potential plan for her death, which would result in a great inheritance for him.
One of the greatest Italian actors of all time, Vittorio Gassman (Bitter Rice), known as Il Mattatore ‘The Showman’ earns his name from this film and his wonderful performance as an actor with the uncanny ability to mimic regional accents, allowing him to pull off a series of scams. Ingeniously plotted by screenwriters Ettore Scola and Ruggero Maccari who were behind some of the greatest films in the commedia all’italiana including Il sorpasso and Ugly, Dirty and Bad. Alternately known as Love & Larceny, Dino Risi (Lost Soul) directs this classic comedy which was nominated for the Silver Bear at the Berlin Film Festival and makes its English-subtitled Blu-ray debut.
A career highlight for director Dino Risi and his star Vittorio Gasman, Il sorpasso isn’t just one of the heights of commedia all’italiana but of all Italian cinema. Jean-Louis Trintignant (The Conformist) plays Roberto, a shy law student who meets Bruno (Gassman), a larger-than-life Roman playboy who convinces Roberto to join him on a road trip from Rome to the Tuscan countryside. Their travels teach them about each other and themselves, oscillating between comedy and tragedy with powerful and affecting commentary on the easy life. Long admired in Italy, the film has influenced comedic filmmakers including Alexander Payne (Sideways) and Aziz Ansari (Master of None)." - synopsis provided by the distributor
Video: 4.5/5 (Il vedovo, Il mattatore), 5/5 (Il Sorpasso)
Here’s the information provided about the transfer, “Il vedovo was scanned in 2K from fine-grain lavender print and restored by Studio Cine, Rome."
Il vedovo comes on a 50 GB dual layer Blu-ray.
Disc Size: 36 GB
Feature: 24.7 GB
The 2K source used for this transfer is in excellent shape. Image clarity and compression are solid; contrast and black levels are strong throughout; and the image retains an organic look.
Here’s the information provided about the transfer, "Il mattatore was scanned in 2K from the original camera negative with a dupe negative for used certain scenes and restored by Istituto Luce - Cinecittà."
Il mattatore comes on a 50 GB dual layer Blu-ray.
Disc Size: 40 GB
Feature: 28 GB
The 2K source used for this transfer is in excellent shape. Image clarity and compression are solid; contrast and black levels are strong throughout; and the image retains an organic look.
Here’s the information provided about the transfer, "Il Sorpasso was scanned and restored in 4K by the Cinecittà di Bologna in collaboration with Istituto Luce - Cinecittà, Surf Film, RT, Lyon Film and LCJ Productions. Some frames were heavily compromised by mold and tares and were recovered using first-generation counter-negatives. The process took place in 2016 at the L’Immagine Ritrovata Laboratories.”
Il Sorpasso comes on a 50 GB dual layer Blu-ray.
Disc Size: 44.1 GB
Feature: 29.4 GB
The 4K source used for this transfer is in excellent shape. Though there are some areas where this transfer is on par with the transfer criteria used for 2014, which used a 2K source, there are many areas where this transfer from Radiance Films is superior, notably when it comes to the encode. Image clarity, contrast, black levels, and compression are solid, and the image retains an organic look.
Audio: 5/5 (LPCM Mono Italian - Il vedovo, LPCM Mono Italian - Il mattatore, LPCM Mono Italian - Il Sorpasso)
Each film comes with one audio option, a LPCM mono mix in Italian. All of the audio tracks are in great shape. Dialog comes through clearly, and everything sounds balanced. Range-wise, ambient sounds are well-represented, and the scores sound robust. Each film comes with removable English subtitles.
Extras:
Extras for Il vedovo include reversible cover art, a theatrical trailer (4 minutes 14 seconds, LPCM mono Italian with removable English subtitles), a visual essay by critic Kat Ellinger about actor Alberto Sordi (34 minutes 10 seconds, LPCM stereo English, no subtitles), and a visual essay by Italian cinema professor and author of Comedy Italian Style Remi Fournier Lanzoni on the softening of neo-realism which laid the groundwork for the emergence of commedia all’italiana titled Neorealismo rosa (18 minutes 14 seconds, LPCM stereo English, no subtitles).
Extras for Il mattatore include reversible cover art, a theatrical trailer (4 minutes 15 seconds, LPCM mono Italian with removable English subtitles), an appreciation of Il mattatore, Vittorio Gassman and Dino Risi by filmmaker Michel Hazanavicius (24 minutes 27 seconds, Dolby Digital stereo French with removable English subtitles), an archival documentary on the working relationship between Vittorio Gassman and Dino Risi, by Risi’s son Marco titled Speaking with Gassman (30 minutes 46 seconds, Dolby Digital stereo Italian with removable English subtitles), and an interview with Andrea Bini, author of Male Anxiety and Psychopathology in Film: Comedy Italian Style (23 minutes 45 seconds, Dolby Digital stereo English, no subtitles).
Extras for Il Sorpasso include reversible cover art, a theatrical trailer (2 minutes 30 seconds, Dolby Digital mono Italian, no subtitles), an archival interview with Dino Risi by film critic Jean Gili (13 minutes 11 seconds, Dolby Digital stereo Italian with removable English subtitles), an introduction by Jean-Louis Trintignant for a French TV broadcast of Il Sorpasso (8 minutes 37 seconds, Dolby Digital mono French with removable English subtitles), an appreciation of the film by Italian cinema expert Richard Dyer (22 minutes 17 seconds, Dolby Digital stereo English, no subtitles), an extract from L’estate di Bruno Cortona - Castiglioncello nell’anno del Sorpasso, a documentary made for the 50th anniversary of Il Sorpasso featuring the cast and crew (11 minutes 2 seconds, Dolby Digital mono Italian with removable English subtitles), and an audio essay and tribute to Jean-Louis Trintignant by film critic and author Tim Lucas, looking at his life and work in the 1960s titled On a Trintignant Kick (58 minutes 17 seconds, Dolby Digital stereo English, no subtitles).
Other extras include removable OBI strip leaving packaging free of certificates and markings and a 80-page perfect bound booklet cast & crew information for each film, an essay titled Commedia all'italiana: an Introduction written by Robert Gordon, an essay titled Dino Risi and Il vedovo written by Gino Moliterno, an essay titled Screenwriting Italian Style written by Pasquale Iannone, an essay titled The Cruel and Easy Life written by Christina Newland, an archival interview with Dino Risi, an essay titled Tragedy Into Spectacle: Dino Risi (1916-2008) written by Pasquale Iannone, and information about the transfers.
Summary:
Il vedovo: An unsuccessful businessman who's been leeching off of his wealthy wife comes up with a plan to get rid of her so he can inherit her fortune.
Comedy films are one genre that does not always work well when presented to an audience that is not familiar with the culture of the country from which they came. Despite these cultural differences, the best comedies, no matter where they come from, all have one thing in common: they are rooted in subject matter that is universal no matter where you come from. Case in point: Il vedovo, a film about a man in a loveless marriage who has a mistress, mounting debt, and a wife, the only thing standing in his way to free himself of these three things.
Il vedovo’s premise is something that is easy to latch onto, and the situations that arise from said premise tend to be dark. That is not to say that the premise is not filled with humorous situations. In fact, one of the funniest moments is a scene where the husband gives his wife a funeral despite her body never being found. Of course, this moment sets the stage for an ironic twist ending that is best summed up as poetic justice.
All of the performances are great, especially Alberto Sordi (Mafioso) in the role of Alberto Nardi, the husband determined to rid himself of a wife that loathes him. Alberto Sordi is one of Commedia All'italiana's most iconic actors, and his comedic timing is flawless. Another performance of note is Livio Lorenzon (The Good, the Bad, and the Ugly) in the role of Stucchi, the Marquis, Alberto Nardi’s assistant and partner in crime.
At just under 91 minutes in length, the narrative moves along with good momentum, and it does a superb job building towards a very satisfying ending. Other strengths are Dino Risi’s solid direction, which lets the performances take center stage. And though the characters are focal points, there are a few stylish moments visually. Also, composer Armando Trovajoli’s (Marriage Italian Style) score does a great job reinforcing the mood. Ultimately, Il vedovo is a highly entertaining film that fans of dark humor should thoroughly enjoy.
Il mattatore: An aspiring actor falls into a life of crime when he’s tricked into a performing scam that lands him in prison.
At the heart of Il mattatore are two of Commedia all'italiana's staples: love and crime. With the focus being more on the latter. The narrative, which is mostly told via a lengthy linear flashback, provides a detailed backstory for the protagonist and the numerous scams that he’s been involved in. That said, most of the humor comes from the various scams.
The main attraction of Il mattatore is Vittorio Gassman (Scent of a Woman, 1974) in the role of Gerardo Latini, an aspiring actor who masters the art of the scam. Throughout, this character is like a master of disguise as he takes on various personas for each of his scams. Vittorio Gassman is one of Commedia All'italiana's most iconic actors, and his comedic timing is flawless.
When it comes to the rest of the cast, they are all very good in their roles. Other standout performances are Peppino De Filippo (Boccaccio '70) in the role of a con man named Chinotto and Anna Maria Ferrero in the role of Gerardo’s long-suffering girlfriend, who pulls off the biggest con by concealing a marriage by pretending it's staged.
From a production standpoint, there is no area where Il mattatore does not excel. The premise is well executed, the narrative moves along briskly, and there is a superb ending that is shot in color. Dino Risi’s direction is pitch perfect, and the visuals take full advantage of the 2.35:1 scope frame. The cinematographer was Massimo Dallamano (For a Few Dollars More), who would go on to be a director in his own right. Also, composer Pippo Barzizza’s score does a great job setting the mood. Ultimately, Il mattatore is a solid comedy that is a must-see if you're a fan of Commedia all'italiana.
Il Sorpasso: A chance encounter brings polar opposite personalities together as they go on a two-day road trip from Rome to Tuscany.
If ever there was a premise that was deceptive, then that would be Il Sorpasso’s premise. On the surface, the idea of following around two characters over the course of two days in which they spend most of their time in a car does not leap out at you. And yet, the result is an engrossing narrative that is greatly aided by these two characters and their actions.
That said, Il Sorpasso is best summed up as a celebration of life, living in the moment. The narrative is essentially characters doing mundane things and experiencing life. And though some of their experiences result in humor, the bulk of the narrative is best described as melodrama. And nowhere is this more clear than when it comes to the bleak, bittersweet finale.
The heart and soul of Il Sorpasso are its two leads: Vittorio Gassman (Big Deal on Madonna Street) in the role of Bruno Cortona, a character who always has to be the center of attention, and Jean-Louis Trintignant (The Conformist) in the role of Roberto Mariani, a shy law student. Another notable performance is by Catherine Spaak (The Cat O’ Nine Tails) in the role of Bruno’s daughter.
Il Sorpasso is a film where everything perfectly falls into place. The premise is superbly realized, the well-executed narratives do a phenomenal job holding your attention, and there is a gut punch ending that lingers on in your mind. Dino Risi’s direction is flawless, and though a large portion of the narrative takes place in a driving car, that is not to say that the visuals are not filled with interesting compositions. Another strength is the exceptional dialog, which gives the characters more depth and enhances the story at hand. Composer Riz Ortolani (Cannibal Holocaust) delivers a remarkable score that does a superb job reinforcing the mood. Ultimately, Il Sorpasso is an extraordinary film that only gets better each time you revisit it, and it is arguably one of Italian cinema’s greatest films.
Dino Risi is criminally underrated when it comes to English-language Blu-ray releases. This phenomenal release from Radiance Films gives English-speaking audiences three of his best films, highly recommended.
Note: This release is limited to Limited Edition of 3,000 copies.
Written by Michael Den Boer
