This is the picture that Il sorpasso, an Italian film of the 1960s and one of the earliest road films, unfolded for us. The literal meaning of the title is a very juvenile "overtaking", but when the English version was released, the main creator translated the title as "The Easy Life" - if it was translated as "easy life", it might not be like Like "Easy Life", it goes to the extreme opposite to the juvenile spirit contained in "Overtaking"; but whether it is "Easy" or "Comfortable", the theme of the movie has already surpassed a "going and going" trip. Instead, it falls into the analysis and description of life, human nature and social changes.
Let's start with the two male protagonists of the film. In the shaping of the external image and inner character of the two, the creator of the film may be highly praised by writers such as Hesse who are obsessed with antinomy. In appearance, there is a Bruno who always wears a polo shirt, strong, tall, and nearly middle-aged; and another Roberto, who refuses to change his shirt and trousers even if he goes to the beach, is young and thin, like a young Werther. In terms of character, Bruno is keen on taking risks, arrogant and dazzling, and is a good pick-up player; Roberto is introverted, obedient, and not good at communicating with people. With his dashing and unrestrained style, the Latino Bruno's attraction to the shy and nervous Roberto is self-evident; in other words, Bruno's appearance, like a lead, ignites Roberto's dull academic career. of unconfidence. That's why he pays special attention to Bruno's casual questions about his way of life (conversation at the gas station); when visiting the uncle and aunt's family where he was raised, he even feels a little jealous that the old uncle and aunt couple On the contrary, Bruno, who is "naturally familiar", is regarded as their nephew.
However, as the film unfolds, Bruno's less glamorous side is gradually exposed. For example, he speaks with exaggeration and moisture (at Roberto's aunt and uncle's house, adding fuel to Roberto's unrequited love story), and is vain and good-looking (in the face of his wife's rejection, he found a non-existent excuse to justify himself, but he was born out of it. Disagreement: In the later episodes, he never said a word to his wife again), frivolous and unfounded personality (it can be admitted to Roberto that he "has not had a close friend" for many years, is an "idiot", "stray dog". ”). However, Roberto, a good boy, is not a perfect god in any sense. He's lying on another level - while he doesn't agree with Bruno's actions in his heart, he always gives a positive answer; on another level, he's good face - standing awkwardly halfway in the bathroom with the doorknob falling off When he was young, only because no one came to save him; although he did have a more delicate and benevolent heart than Bruno, the movie did not explain which friends he had before that were more sympathetic than Bruno, who met by chance. On the surface, Roberto has far more respect for others and the whole outside world than Bruno. The best example is that near the end of the film, Bruno can't even say the last name of Roberto who has been with him for two days - from a certain In this sense, there can be no greater neglect of his so-called "friends" and the so-called "friendship" between them. However, from another point of view, Bruno made Roberto feel this kind of friendship in every minute and every second of these two days, making people unable to figure out whether it is illusory or real, making people uncertain about this kind of friendship. Whether such friendships—if they exist—can be simply divided into two halves to compare who is shallow and who is deep.
Another point that makes the film even more meaningful is that this delightful journey, so cherished by the restrained and shy Roberto, is really nothing more than a series of frustrations and failures. Throughout the whole film, the two male protagonists have almost failed to accomplish one thing in a successful sense: Bruno, who looks like a lover, had to give up his attempt after following the German girl to the cemetery; He also wanted to open a room with a waitress, but was decisively rejected; a dinner with a business partner broke up because a previously humiliated car owner came to the door; he wanted to have a good night with his wife after fifteen years, but was directly pushed out of bed; in the end no Stop the affair between the flowery daughter and a middle-aged wealthy businessman. Not to mention the inexperienced Roberto's failed conversation at the midnight train station, the many embarrassments he had when he was with Bruno's daughter, and finally summoning the courage to dial the beauty's number, but couldn't find anyone. In the nearly two hours shown in the film, the two male protagonists traveled thousands of miles, showing mercy, but in the end they ended up empty-handed - not even a complete goodbye was made, and everything ended in a hurry - including With the waitress at the seafood restaurant, with Aunt Lydia, who deliberately let go of her long hair, with her biological daughter and her lover, even if they are as delicate and affectionate as Roberto, it will not help. In this way, the film predicts that Italy will move towards Bruno. The turn of the new trend of thought, which lacks reflection and profoundness, will have a profound impact on its existing social order and culture.
Although the final result is nothing, but the two protagonists of the story are walking on the road, and they also meet all kinds of people who are not usually seen. Among them, Bruno's views and attitudes towards characters of various social classes provide the most footnotes for explaining the metaphors of the whole film. According to his philosophy, a man can justly outrun a "little Fiat" as long as he is driving an open-top Lancia, not to mention a roadside bicycle; You can make fun of the old nanny, you don't have to help; you can mock the peasant's swing dance in the sunset, even if you dance in the nightclub a few hours later and the peasant you have mocked before is the same. Details such as these imply that Bruno, and the nouveau riche new Italians he represents, have no respect for the old, and care only about the new because they offer the greatest pleasure; at the same time, Roberto, who represents tradition, order and dignity, in each of the above examples, is willing to drift with the crowd in silence - what are the odds of winning against the old generation against the new generation? However, for the whole society, is it necessarily the best final state for the old things to be thoroughly cleaned and replaced by the new ones? At the moment when this question is thrown, the creator's implication for the film's ending is also self-evident - Roberto is the only person from the past that Bruno will be destined to miss; The most precious gift of character is to Bruno, which prompts Bruno to pick up reflections that are not always pleasant, and becomes the last chance to redeem Bruno, who is not destined to become the one that redeems him, because the future of Italy is ultimately in the hands of a man. Bruno's hand - from this point of view, every laugh of Roberto's indulgence, and every bit of self that he finds, is like a horn from Lancia, only the drumstick of fate beats more and more. Just tighter.
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