The strong tendencies of social criticism and convention, albeit hidden in the comedy and funny folds of the comedy, make it one of the most famous posters of the Italian comedy film genre, in which some innovative and original formal characters appear. The protagonists of Bruno Cortona and Roberto Mariani, for example, go far beyond the macchiettistica and caricatures of comedy. They are psychologically complete and clear (the director has a medical degree, specializing in psychiatry) especially the Trintignant, who brings to life a very strong portrait of a shy young man, a loser, but class-consciously mature, Attracted by successful social programs, but also dependent on
Due to precise rules of conduct borrowed from their own belonging groups, the Roman petty bourgeoisie, with its domestic virtues against the rampant and ambitious high bourgeoisie and urban underclass, was far from a great economic process. Bruno-Roberto's psychological duel on the verge of 130 km/h is a new scheme not often seen in comedy films. How radically innovative is the recourse to young Roberto's thinking self compared to other genre films, through which we become aware of the contradiction between thought and action that the boy experiences when he comes into contact with Bruno, especially his Road to the erotic and social enlightenment of his performances. The protagonists are so different, but equally positive and negative, attract and repel each other, which in turn draws audiences to two distinct and opposing poles of social identity: what makes them distinct from the Sordian characters, the quintessential protagonists of comedies, usually Accompanied by a peculiar subtlety of contempt or comical sympathy. Overtaking marks a further distinction from other Italian comedy films. In this film, the director's artistic personality is more pronounced and presented, and is not limited to mere participation or refinement of the subject. Both the dynamics of the scene and the inheritance of the plan are very fine-tuned and the result of a single creative mind. Sometimes the shoot turns into a documentary, and the details of the scenes are defined almost like newsreels of the day: for example, in the scene shot in the seaside ballroom, when the director insists on the twisting steps of the extras. Here, instead of putting himself behind the camera, the director confines himself to shooting the chorus of a team of artisans that includes a cast of talented actors. Risi conceives the sequences herself, sets the rhythm of the scenes and the jokes at the dinner table, and a priori determines how incisive and detached some of them will be while leaving plenty of room for the actors' creativity. The result is light-hearted, cheerful, and funny in the author's style, but at the same time it's proposed as testimony, document, and condemnation, far from the confines of comedy. At certain moments, like when young students try to take public transport in the port of Civitavecchia, the social representation becomes surreal, almost Pasolini-esque. So, as its title suggests, Overtaking is a very fast and rhythmic film based on precise acceleration cues, with Vittorio Gassman's memorable lines closing the continuous opening in the film and many close
Curtains, this kind of plan is rarely dramatic, but has a lot of film. Other formal elements make this film an important novelty. In fact, the film is considered by some to be a true road film ("street film"), the first of its kind in Italy, since the connection to the road experienced in the development of the narrative story is structural of. It is this path, in active and passive relations with the two protagonists, that marks the path of the subject from a precise starting point (any desolate Rome in mid-August) to the tragic curve of Calafuria, shortly after the town . Quercianella, on the Tuscan seafront.
Bruno and Roberto leave the road very briefly, but they always return to the road, in fact, the road is the scenic representation of a country that is rapidly approaching the end of the dream, collective and universal happiness. Between the curious gazes of distracted swimmers, the car's leap in the void is purely symbolic. The shattered life of an honest and naive young man and how his alter ego Cortona escaped danger is full of symbols. They represent the two identities of a country that has come to a crossroads in history. The first, related to principle, will be tempted and die at the end of the dream, leaving the realm to the second Italy, cunning, individualistic and immoral. Perhaps it is this pessimistic tendency, a deep distrust of a certain Italian, of his real possibility, of certain recurring features of Italian history, and of harsh criticism of his habits and mentality, that will The film is related to the genre known as Italian comedy, considered by many to be a masterpiece.
It is necessary to spend a few words on the symbolism of gathering around the road. Via Aurelia is the path on which the story unfolds, leaving Rome and languidly heading towards the consular artery of Fregenet and the Riviera of the Upper Lazio, which is no coincidence, as this was the road most people traveled in the sixties it Represents a collective and generational myth: vacations, escapes, paths to happiness in many forms. Aurelia somehow represents a social complex. Its path starts from the city center, first through the bourgeois neighborhoods of the growing capital close to the historic center of Rome, before reaching the still crumbling popular villages and running fast through the last colonies of Lazio, it reaches the Riviera The popular beaches of the Riviera or the wealthy towns of Fregene, Santa Marinella and, gradually, Capalbio, in the flourishing of brutal and abusive urbanization developing.
Thus, the civilization the protagonist encounters on his journey is indeed a cross-section of that Roman society, where every Sunday collectively begins the ritual of celebrating the party, including stops at the gas station, long queues and head-on accidents.
Even the car, the Lancia Aurelia B24 (the analogy between the spider's name and the consular road, again, can't be accidental) reflects radical symbolism. In fact, the car had already left the workshop in 1956 and then represented the prototype of the idea of elegance and refinement, but it soon became the ideal of an aggressive, domineering car, assembled in engine and accessories, including accompanying The famous tritone horn that carries most of the sequence in the car. In fact, in some scenes of the movie, you can see her in this photo of her. The right side still shows body shop work, repairs that have not yet been repainted, and must witness the scars of the battle between the car and the driver (note that one of the car's two exhaust pipes is also missing). It is no accident that Dino Risi chose Lancia Aurelia, as it represents the corruption of an idea, the belief that years of economic miracles will end in Italy, giving way to a divided and contradictory society in which only villainous opportunists and koreans Like Altona, their moral pseudo-values will be the protagonists of social well-being.
The strong tendencies of social criticism and convention, albeit hidden in the comedy and funny folds of comedy, make it one of the most famous posters of the Italian comedy film genre, in which some innovative and original formal characters appear. The protagonists of Bruno Cortona and Roberto Mariani, for example, go far beyond the macchiettistica and caricatures of comedy. They are psychologically complete and clear (the director has a medical degree, specializing in psychiatry) especially the Trintignant, who brings to life a very strong portrait of a shy young man, a loser, but class-consciously mature, Attracted by successful social programs, but at the same time determined by precise rules of conduct borrowed from their own belonging groups, the Roman petty bourgeoisie, with its domestic virtues, opposed the rampant and ambitious high bourgeoisie and urban underclass, far from the great The economic process is still far away. on the edge of 130 km/h
The psychological duel, played by Bruno Roberto, is a new scheme not often seen in comedy films. How radically innovative is the recourse to young Roberto's thinking self compared to other genre films, through which we realize the contradiction between thought and action that the boy experiences when he comes into contact with Bruno, especially his The erotic and social
Give enlightenment. The protagonists are so different, but equally positive and negative, attract and repel each other, which in turn draws audiences to two distinct and opposing poles of social identity: what makes them distinct from the Sordian characters, the quintessential protagonists of comedies, usually Accompanied by a peculiar subtlety of contempt or comical sympathy. Overtaking marks a further distinction from other Italian comedy films. In this film, the director's artistic personality is more pronounced and presented, and is not limited to mere participation or refinement of the subject. The dynamics of the scene and the inheritance of the plan are very fine,
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