This bittersweet comedy about a troupe of traveling players—often erroneously attributed to Fellini, who wrote the script and is credited alongside Lattuada as codirector—was actually a full-fledged demonstration of Lattuada’s flair for exposing the weakness of masculine vanity and the strength of female opportunism. But Antonio gets more than he bargained for when he discovers some harsh truths about his ancestors—and himself.
Yet even here, Nino’s city-dude smugness undermines his enlightened feminist message, so you’re not sure whether to applaud him or laugh at him. Mafioso is filled with delicious touches, such as the discussion about alienation by several Sicilian beach bums, the alarmingly abundant welcome-home feast, or the dilemma around Nino’s unmarried sister’s mustache. [and his films] often prove more biting, more complex than the flashy concoctions of most ‘new’ Italian directors.”, The alluring aesthetic of sixties widescreen black and white has never looked better: Lattuada uses it both for a fluid mise-en-scène that embeds his characters in detailed social environments and for expressionistic effect, as when he floods the screen with noirish shadows in the night sequence before Nino’s departure. In celebration of his hundredth birthday, we look back on the legacy of the extraordinarily prolific icon of Italian cinema, whose unmatched rapport with audiences stretched across a six-decade career.
(Warning: if you have not watched the film yet, you should do so before reading further!). . Comedy is perhaps more reliant on good screenwriters than any other genre. If anything, in its portrayal of the long international arm of the crime families, Mafioso offers a prescient look at globalization. No one could better embody the “average Italian” in all his swagger, cowardice, hypocritical geniality, and reluctant nobility than Alberto Sordi; and Nino is undoubtedly one of his greatest performances. Yet by shuttling Nino between the dehumanizing, regimented factory at both ends of the film and the vulpine Mafia in the middle, Lattuada suggests a rough equivalency between the two systems. Half the townsmen are unemployed lechers, the other half work for the Mafia.
Alberto Lattuada's 1962 film Mafioso is one of the more delightful surprises of the last couple of years. They are both part of the same ruthless, every-man-for-himself continuum. For the most part, it is entertaining though the climax is rather slow and brings the film to a sputtering end rather than a truly satisfying conclusion. Nino tries to bridge these two worlds with an increasingly desperate bonhomie and gregarious flattery; but no one is fooled, especially not the old Mafia chieftain, Don Vincenzo, who calls in a favor and enlists Nino as a hit man.
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Directed by Alberto Lattuada • 1962 • Italy Starring Alberto Sordi, Norma Bengell, Gabriella Conti In Alberto Lattuada’s brilliant dark comedy MAFIOSO, auto-factory foreman Nino (Alberto Sordi) takes his proper, modern wife (Norma Bengell) and two blonde daughters from industrial Milan to antiquated, rural Sicily to visit his family and get back in touch with his roots. Classics and discoveries from around the world, thematically programmed with special features, on a streaming service brought to you by the Criterion Collection. Adding to your cart. Lattuada’s supremely hard-nosed comedy Mafioso, which won the grand prize at San Sebastián in 1963, further elaborated on this theme of the individual versus the group. In Alberto Lattuada’s brilliant dark comedy MAFIOSO, auto-factory foreman Nino (Alberto Sordi) takes his proper, modern wife (Norma Bengell) and two blonde daughters from industrial Milan to antiquated, rural Sicily to visit his family and get back in touch with his roots.
In Alberto Lattuada's brilliant dark comedy Mafioso, auto-factory foreman Nino (Alberto Sordi) takes his proper, modern wife (Norma Bengell) and two blonde daughters from industrial Milan to antiquated, rural Sicily to visit his family and get back in touch with his roots. . But Antonio gets more than he bargained for when he discovers some harsh truths about his ancestors—and himself. Mafioso is presented in the aspect ratio of 1.85:1 on this dual-layer disc, enhanced for widescreen televisions. We use cookies to give you the best experience possible. Sign in to check out Check out as guest . The bedrock of Italian film comedy of this era was its terrific corps of veteran dialogue writers; and this film boasted not only the great Age and Scarpelli (Agenore Incrocci and Furio Scarpelli)—the most famous screenwriting team in Italian film history, responsible for many of that nation’s best comedies and dramas, including Seduced and Abandoned, La grande guerra, and The Good, the Bad, and the Ugly—but also Marco Ferreri (who directed his own comedies, such as The Ape Woman and La grande bouffe) and Rafael Azcona. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. . He directed neorealist melodramas such as The Bandit and Without Pity, but his first real masterpiece was undoubtedly Variety Lights (1950). One word: vivacity. Lest the film be thought of as historically bound to some quaint period in the past, we are reminded that recent statistics show organized crime still occupies the largest sector of the Italian economy. Loading... Resume making your offer, if the page does not update immediately. Nino thus enters a world where even glib words (he had promised to do anything the old man requested) have consequences. (Read my Mafioso review. This dark Italian comedy is the granddaddy of modern crime films like the Ben Kingsley vehicle You Kill Me or the Robert De Niro/Bill Murray picture Mad Dog and Glory--violent, wicked gems that make light of heavy subjects without denying the bile that lends the laughs their tragic bitterness. He keeps the action moving by any means necessary: sometimes tracking, sometimes employing enormous close-ups, or cutaways to the landscape, zooms, stylized lighting. On the one hand, you had the postwar art-house powerhouses—Rossellini, De Sica, Visconti, Fellini, and Antonioni—all operating in full gear, with a younger crop (Pasolini, Zurlini, and Scola) bringing up the rear. Lattuada is an especially interesting case.
In Alberto Lattuada’s brilliant dark comedy MAFIOSO, auto-factory foreman Nino (Alberto Sordi) takes his proper, modern wife (Norma Bengell) and two blonde daughters from industrial Milan to antiqu... Daniele Luchetti's entry in the documentary anthology “Ritratti d'autore: seconda serie” (1996) profiles Alberto Lattuada, the director of MAFIOSO. Here’s my quick rundown of the extras on the Criterion Collection Mafioso DVD. On the other hand, you had an imitable strand of popular, cynical Italian comedy, by such polished directors as Alberto Lattuada, Pietro Germi, Mario Monicelli, and Dino Risi. Black levels are quite strong and contrast is good presenting strong gray levels.
)Interview with director Alberto Lattuada: Clocking it at about 15 minutes, this short 1996 documentary features a nice little conversation between Lattuada and Italian filmmaker Daniele Luchetti (My Brother Is an Only Child).
The plot centers on Nino Badalamenti, a go-getter foreman in a Milanese car factory. Review: ‘Mafioso’ Criterion Collection DVD Extras. Best Offer: Make Offer.
The auteurs versus the craftsmen, you might oversimplify the situation by saying. It also demonstrated what Lattuada himself called his main theme: the isolation of the individual, attempting to pursue a glimmer of happiness, in the face of society’s opposing pressures to conform. He has written extensively on the movies for the Criterion Collection, Film Comment, Cineaste, and the New York Times and is a professor at Columbia University. Mafioso is a 1962 Italian Mafia black comedy film directed by Alberto Lattuada.The film stars Alberto Sordi as a factory manager who visits his hometown in Sicily and is tasked with performing a hit for the Mafia.It was awarded Best Film at the San Sebastian Film Festival The capacity to work with given materials and achieve something else, in quality and tone, has been one of Lattuada’s elusive talents . Though he grew up in Sicily, Nino has, for all intents and purposes, become a northerner, pacing the factory floor with stopwatch in hand, hawkeyed against malingerers, thinking himself shrewd, nobody’s fool. He is certainly not a macho, even correcting one of the Sicilian toughs: “Doing what your wife wants isn’t a sign of weakness.” (Norma Bengell, the non-Italian actress who plays his wife, brings an endearingly convincing air of baffled estrangement to the proceedings.)
What they encounter is instead a dour, suspicious populace, wily, cretinous, upholding a bloody code of honor. In its pre-Godfather, anti-nostalgic, decidedly unromantic treatment of the Mafia, Mafioso uses the criminal-society plot to impose implacability on an otherwise random, frivolous world. Directed by Alberto Lattuada • 1962 • Italy After Italy was liberated by the Allies, Lattuada called for a neorealist cinema: “We are in rags?
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