Gorzki śmiech, dreszcze i szaleństwo. Filmowa commedia all'italiana w latach 1970-1989
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In the time of 70's Italian and foreign critics thought about possibility of existence comedy movie all'italiana. Turn of the unmodernised time, comedy movie all'italiana will come into impure hybridize form. The deepest transformation give way for comedy of manners. Directors bravely trespass on politic sphere and kitsch, movie scribblers and pornography. Old masters of this genres has duplicated typical features schematic diagrams, they used incompetent narrative techniques and different kind of instrumentality, which came from the artistic cinematography. They made of movies, which contained another genres and conventions. In every year performed more than thirty premieres the new comedy of manners, but the most of them entertained shortly on the movie screen. Definitely in that time, Luigi Comencini's sense of humour was very poor. It was a disaster and shock, because he could make laugh even choosy spectator. In his movies, moral scenes for example: in Play of illusion (Lo scopone scientifico) sometimes made laugh, but it was without deep meanings. The More than better stylist in the comedy of 70's was Mario Monicelli. He could make shivering of the feelings and additionally fear. Monicelli illustrated tales, which consisted of compassionate irony. These tales presented conversions, which set in the mentality and moral in the Italian society. The author has confirmed, that important voice in this dispute belonged to Monicelli. In his comedies appeared usual people, who felt lost and they outlived personal drama of loneliness in the crowd of friends, relatives and familiars. Comedy situations played in the existentialism sense of nothingness, hopeless. These situations made laugh of confused, fear and sadness. For example movie called The Little philistine didn't make laugh, but the shiver of terror tend to thriller. The Author has convinced, that typical Italian comedy characterized deep anxiety and sophisticated acting, which was concern on changing moods and delicate irony. On the next decade, Italian critics and foreign critics tried to return to the fundamental question - Have the comedy already end? This question was an uneasy question, which made that critics more and more have watched process of expansion in the Italian cinematography. Especially, they have watched Risis's or Comencini's creativity, who just stopped make laugh spectators and stopped make comedies. Critics looked for comedy situation, which have showed universal and social themes, in which everybody could find something for itself. As the author confirmed - they looked for these things, which Nitchetti's presented on the screen. Also as the author thinks, these opinions, view on the comedy artists and their own making movies constitute another reflection, than commedia all'italiana.
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