[Film Review] Boccaccio ’70 (1962)

Boccaccio.'70_三艳嬉春(1962) 11

Title: Boccaccio ’70
Year: 1962
Country: Italy, France
Language: Italian, German
Genre: Comedy, Fantasy, Romance
Mario Monicelli
Federico Fellini
Luchino Visconti
Vittorio De Sica
segment “Renzo e Luciana”
Giovanni Arpino
Italo Calvino
Mario Monicelli
Suso Cecchi D’Amico
segment “Le tentazioni del dottor Antonio”
Federico Fellini
Ennio Flaiano
Goffredo Parise
Tullio Pinelli
segment “Il lavoro”
Luchino Visconti
Suso Cecchi D’Amico
segment “La riffa”
Cesare Zavattini
Music: Nino Rota, Armando Trovajoli, Piero Umiliani
Cinematography: Otello Martelli, Armando Nannuzzi, Giuseppe Rotunno
Marisa Solinas
Germano Gilioli
Peppino De Filippo
Anita Ekberg
Romy Schneider
Tomas Milian
Romolo Valli
Sophia Loren
Luigi Giuliani
Alfio Vita
Rating: 6.1/10

A portmanteau anthology from a quartet of the most prestigious Italian filmmakers must be a rare treat for aficionados, but since shorts sometimes has been designed to experiment maestro’s more daring or outlandish innovation, so a 1+1<2 formula is well acceptable for the viewers at least.

Act 1, Monicelli’s amiable modern tale of a pair of young newlyweds working in the same factory while conceiving their nuptial facts since it breaches the unfeeling regulation. Monicelli’s devotion and affection to the general mass is ubiquitous, the camera follows intimately to record the lovebirds’ daily work, diversion and quagmire, and the bittersweet ending is unerringly sanguine which should be the bloodline runs inside the Italian lineage.

Act 2, Fellini’s ever-first chromatic endeavor, surrealistic, sumptuous and luscious fantasy of a moral watchdog’s eventual relinquishment towards a sexy bomb (an enormous 50 feet-tall Anita Ekberg), a female-exploitation gag which is constantly overplayed (not inclusively) in Fellini’s canon. But visually, Fellini’s maneuver of projecting different proportioned characters (creates two identical settings with different sizes) is quite nimble without exposing any shoddy clues (except the forged beasts, which is a buzzkill).

Act3, Visconti’s pleonastic noble Count whose brothel scandal evokes a major crisis with his wealthy but vindictive wife, a higher-tier pastiche ends up with a sloppy reference of a disparaging stinking rich’s gauche prostitute fetish. At any rate Romy Schneider is the best thing in it, pairs with a well-suited Tomas Milian, presents a paragon of bourgeois vulnerability and emptiness.

Act 4, another “prostitute” farce in a rural background, De Sica seduces the world with Sophia Loren’s vulgar and crude beauty, a sultry whore will spend one night with the man who guess right of the lottery number, but it turns out to be a mental masturbation joke, quite tedious and a bit offensive.

Apparently this is another patchy miscellany doesn’t live up to the test of the time, Monicelli’s neo-realistic part (which suspiciously is taken out completely in the original US release) is the standout and quite a pity it didn’t make up to a feature-length piece of work which producer Carlo Ponti had promised then.


One thought on “[Film Review] Boccaccio ’70 (1962)

  1. Pingback: [Last Film I Saw] The Garden of the Finzi-Continis (1970) [6/10] | Cinema Omnivore

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