"a hard life"
ITALIAN FOR U.S.
Alessandro Agostinelli
money and happiness. It is the best movie by Dino Risi and interpretation of the most sublime Alberto Sordi, former partisan journalist here. We anticipate all diseases chronic Italy, which soon will be challenged by social and youth protests of the late sixties.
There are a lot more artistic films and movies much more committed to this feature by 1961. And films that could aspire to tell stories of the Risorgimento, or events of two world wars and the Fascist period. Like the rest of the sweet life of Federico Fellini has been for many, even abroad, the Italian fresco par excellence, although told from the point of view of authorial reflection intimately subjective. However, we believe that
A difficult life The fresco is most fitting of all the nation's history. There is certainly in the transformation of the average as a young rebel and dreamer must adapt to the compromises of life, and there inside the story of an individual dignity which is at odds with a social system selfish and greedy.
" Overview twenty years of Italian life through the story of a former journalist who is part of the partisan system of a reactionary bourgeoisie ," as he explains briefly the Morandini.
is the best film by Dino Risi and interpretation of the most sublime Alberto Sordi end of their careers just remembered Silvio Magnozzi, protagonist A difficult life of as his most successful. Here Sordi can balance the comedy with a measured interpretation, and even the scenes over the top always fall within the fold of credibility, leaving no room for caricature or description Sketches. Today, many movies and exploring back in the history of Italian comedy, this film can be regarded as perhaps the highest point reached by the film of that genre.
But alongside Alberto Sordi, fits perfectly in the main interpreter, rotate other film personalities of the period, as Vittorio Gassman, Alessandro Blasetti, Silvana Mangano, who interpret themselves, in a scene where Dino Risi shows a film set. We should also mention that the story and screenplay of this film are incomparable Rudolph Sonego, then cooperation in many other films of Alberto Sordi.
The film is about a piece of Italian history, from the Resistance to the economic boom, through the life of a partisan journalist and passionate left-wing newspaper The Worker, which is combined with the bourgeois Pavinato Elena (played by a talented Lea Massari) and comes into contact with parts of the national society corrupt, driven from coming forward only by greed and money. The protagonist, first pure and idealistic, has to deal with reality and try to get by in a world with obsequious political and ecclesiastical power, trying not to be still contaminated by the vileness around him. But this step the purity of youth to maturity of corruption can not divert it from an intimate sense of justice, not make it to divert him from his values, and collided with an Italy that sniffs the first fever of moral decay, surrenders to his destiny as a loser.
In this film there is no celebration of the economic boom, he sees an optimistic future, certainly not for the moral conditions of the national society, and all the excitement of post-war darkens in a country with two speeds, where rich and poor, humble and the powerful will go increasingly detached from each other. We anticipate, therefore, all the chronic diseases of Italy, which soon will be challenged by social and youth protests of the late sixties of the twentieth century.
Although the film depicts it all, no purpose or sociological messages. This is an enjoyable film, easy to follow and totally engaging for the mastery of the Deaf, both for the stories that are told, more credible and effective, when they stage the enthusiasm of the hopes of social and family ones, but also They will emphasize when the slime of hypocrisy and contempt for the values \u200b\u200bthat should hold firm together a cohesive society.
Alberto Sordi is found twice out of a night, and the first of these, walk a bit 'tipsy met a shepherd with his sheep and asks, "Pastor, you are happy?", And the pastor whose life does not seem put it right in the face of this existential priorities, responds: "A 'mbriacato, but it should be' to kill died." Also in this scene highlights an important issue for the rising middle class that is a question that an individual's conscious as Silvio Magnozzi arises: can the wealth give happiness? Or are mainly other parameters to define a shared space life of happiness?
The film called before the state of our country and presents us with some non-trivial questions that tell us almost three hours of cinema in the emotional-intellectual history more relevant to what we think was the life of previous generations.
memorable dinner scene at the home of monarchists in the evening of the referendum between monarchy and republic, but even better the final scene, when Alberto Sordi, and now only lost out by a local venture drunk at dawn in the middle of the street on the seafront of Versilia, spitting at cars and a bus of German tourists which cries out that it is unnecessary to be in Italy, because Italy is disgusting. Brilliant epilogue a film that has all the worst story in advance of our malpractice italics.
A hard life, in addition to describing the hypocrisies of contemporary bourgeois of the founding years, also seems to tell some little economic power, political lobbying and have never changed the face and have gone free from fascism to Italy Republican without buying any kind of social value. The arrival and the well-being, seems to say I laughed, it has its high price to pay, at the expense of morality and dignity private
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