Verliebt in scharfe Kurven

Although to all intents and purposes this film from Dino Risi is a brilliant example of Commedia all' Italiana it remains a 'Road' movie in all but name. The Road in this case is the Via Aurelia that runs from Rome to Tuscany and the title refers to the aggressive overtaking indulged in by the free spirited Bruno behind the wheel of his Lancia Aurelia Sport. His passenger here is the shy, mild mannered law student Roberto.

This film really struck a chord with Italian audiences and despite negative reviews it was word of mouth that made it such a spectacular success. Sixty years on it still packs a punch and has had an immeasurable influence on later directors.

This marvellously constructed piece gets better as it goes on and like Risi's previous masterwork 'La Vita Difficile', gives us a beautifully observed picture of the Italy of the new prosperity known as 'Il Boom'. Bruno and Roberto look as if they might have been inspired by Dean and Sal in Jack Kerouac's seminal 'On the Road'. Just a theory of course.

There are some finely drawn performances throughout but its strength of course lies in the relationship between the unlikely buddies Bruno of Vittorio Gassman and Roberto of Jean-Louis Trintignant. To see two such exceptional actors playing off each other is an absolute joy. Gassman has the showiest part and his magnificent performance is further testament to his excellent working relationship with this director. Trintignant brings his customary air of mystery to the role and is no less effective. Good writing makes good actors even better and the script by Risi and Ettore Scola is superlative, by turns introspective and hilarious. It is a work full of paradoxes and ironies, climaxing in the cruellest irony of all.

Surprisingly the bleak ending did not affect its popularity. "It's a bit cruel," said Risi, "but that's Life. A beautiful vacation that ends in tragedy."

Bruno (Gassman), pushing forty, is a no-good con artist, a "vitellone": loud, hyperactive, exhibitionist, self-centered, narcissistic, immature, confrontational, untrustworthy and...irresistible. He leads the "easy life", his talent to cause trouble is only surpassed by his talent to disentangle himself from it — not always unscathed. One mid-summer holiday (the "Ferragosto"), he meets by chance Roberto (Trintignant), a young law student in his early 20s, terribly shy, slightly bored, docile, self-effacing and inexperienced. Bruno practically drags Roberto to his convertible Lancia Aurelia and together they hit the road from Rome to Lazio and Tuscany, an initiation trip for Roberto — and when it's over, you know this movie will remain in your heart and mind forever.

"Il Sorpasso" is THE definitive combination of tragicomedy and road movie, and quite simply miraculous: how can a film be so funny AND emotional, light AND thought-provoking? I'd point out some of the reasons:

-- The fabulous script. Dino Risi (a bona-fide graduated psychiatrist, as his eye for psychological details shows) and experienced writing duo Ettore Scola/Ruggero Maccari (who had by then written about 18 scripts together!) create two of the most fascinating, three-dimensional characters in movies: Bruno's layers coming off and Roberto's self-discovery building up before our eyes. Bruno may be crass but also very smart: he outguesses all the dynamics of Roberto's country family instantly. Roberto may be the prey but a conniving one. The film excels in hilarious confrontational situations, finely drawn supporting characters (including gorgeous 17y.o. Catherine Spaak as Bruno's sensible daughter; and Luciana Angiolilo as Bruno's no- nonsense, mature ex-wife); endlessly quotable lines (including side-splitting remarks on Antonioni's "L'Eclisse" and the very spicy mating dance between Bruno and the Commendatore's wife); the underlying criticism of Italian society, which faced the last breath of the economic boom of the 1950s that ultimately deepened the gap between rich x poor, bourgeoisie x proletariat, North x South, leading to chaos in the 1970s; and, surely, the heart-stopping finale.

-- Gassman and Trintignant's performances are nothing short of magical: they know these are once-in-a-lifetime roles and they squeeze all the juice out of them. Gassman (who said Bruno was probably his favorite film performance) builds Bruno with tour-de-force physicality and boundless energy, from risky-driving, water-skiing and doing handstands to highly elaborate body work (his "choreography" as he gets out of the ladies' toilet is worth a 1,000 lines). When was a scoundrel so complex and irresistible? Contrastingly, Trintignant (at 32 but completely convincing as a young student) goes inwards, acting with practically his eyes and mouth only, and yet we can see the full blossoming of his fascination with Bruno (notice the worshiping glow in his eyes as he listens to Bruno at dusk). When was a shy man ever performed with such intelligence, sensitivity and charm? To top it all, their interplay is wondrous: when they laugh heartily at the riotous hick twist party you know these two men have really bonded!

-- Direction/cinematography: film encyclopedias affirm road movies existed long before "Il Sorpasso", but which, again? THIS is the first MODERN road movie: no back projections, no studio stuff, no dinosaur automobiles, no stunt doubles, but two stars really driving that triumph-of-design convertible Lancia Aurelia with its matchless horn sound on the real desert streets of Rome on a real Ferragosto holiday, and then on Italian roads doing real, risky "sorpassi". The film takes places in just over 24 hours and the lighting is always spot on.

-- the music: back in 1962, it was not that usual to use pop hits as a commentary for the action. But listen to the words of "Guarda Come Dondolo" (Look How I Swing) and how it perfectly matches Bruno's swinging behavior. Vianello, di Capri, Modugno...who can resist those Italian pop songs of the 60s?

In the Brazilian DVD extras, Risi recalls the idea for "Sorpasso" came when he went on a road trip with a trouble-making, hyperactive producer, who would drive to Switzerland just to buy a pack of cigarettes. The film's finale was disputed during shooting: the producer wanted a happy ending to save expenses with the last scene (you'll know why). "Il Sorpasso" finally opened to unenthusiastic critical reception and mild box-office but immediately became a word-of-mouth fever and a smash hit in Europe, Latin America and the U.S., having influenced generations of road movies world- wide, most notoriously Dennis Hopper's "Easy Rider" (from the title to the finale) and Wim Wenders' masterpiece "Im Lauf der Zeit" (whose protagonists were named Bruno and Robert).

Since this is a film to watch over and over again, purchase your own copy and notice the innuendos concerning Bruno and Roberto's sexual profiles. You may laugh at how sex-deprived they are: Bruno brags a lot but he doesn't score once, not even with the waitress -- he's so sex starved he attacks the Commendatore's wife, his own ex-wife and even his own daughter in a black wig; Roberto is obviously a virgin. Or, if you're in such a mood, count the numerous gay undertones: Bruno, the narcissistic 40ish mamma's boy, using the ladies' toilet without a blink; Bruno teaching aunt Lidia how to apply cat-eye make-up; Bruno and Roberto's body contact especially after the night-club fight; Bruno giving up potentially easy conquests, such as the German girls and the waitress; Bruno instantly recognizing Occhio Fino is gay; Bruno jokingly to Roberto: "Well, you know, I don't fancy men but if even if I did you're not my type"; or "When we get back to Rome I'll introduce yo to mamma and we can see each other every day" etc). It's just one more way to enjoy the richness of this brilliant comedy.

DO NOT MISS this insightful, hilarious, influential, fascinating, ageless film. "Il Sorpasso" is one of the finest character studies of all time, a legitimate masterpiece from an era when Italian cinema was the best around.

Actually it was a Lancia Aurelia B24 sport....It was one of the three main characters in this movie, so please let there be no misunderstanding about this marvelous car. The car represents the somewhat broken state Bruno is in when Roberto meets him. The paintwork is patched-up and the body is dented, but the the engine, character and spirit are still in top condition! Please also note that all the in-car shots were made on the road and not in the studio. This movie depicts how Italy in the beginning of the sixties was recuperating from the poverty resulting from war and fascism.

(Great movie!!!)

This is simply one of the greatest films of all time. Yes, up there with "Modern Times" and "Los Olvidados," but for entirely different reasons. It is a convincing celebration of life that I have never experienced in any other movie. Gassman will move you to tears and laughter in a beautiful performance. The plot? An attempt to introduce a nerd to the world of chromatic living and accelerated emotion. Do the consequences matter? Yes? No? You'll love it anyway. If you can't get an English version, it doesn't matter. Listen to the original Italian and marvel at the significance of the depth and the architecture that penetrates the screen.

IL SORPASSO is referred to by many comments as a comedy. There are a few amusing moments, but this is far from a comedy. The word "sorpasso" connotes overtaking, or passing, as in a vehicle passing another on the road. Bruno (Vittorio Gassman) is a man who lives--or thinks he lives--life to the fullest. He's headstrong, opportunistic, manipulating and selfish. He's also charming, and has the narcissistic ability to make other do what he wants. When he encounters Roberto (Jean-Louis Trintignant) he sees someone who needs to be awakened to the carefree joys of life. It sounds good at first, as the men speed down highways and through small towns, passing every other car, hell-bent to go nowhere. No plans, something that Bruno impressed on Roberto: it's the way to live your life. Throughout, we hear Roberto's thoughts in voice-over--should he go along with this impulsive person, or insist on going back home to his quiet life as a law student? At a couple of points, Roberto does intend to leave on his own, but circumstances and Bruno's persuasive nature pull him back into the older man's sports car. It's all fun to watch, until they reach Castiglioncello, where Bruno "knows some people''. The people turn out to be his ex-wife and his daughter. The former wife (Luciana Angiolillo) knows Bruno all too well and sees through his raving and protestations. Daughter Lilli (Catherine Spaak) is still under her father's spell. His antics still entertain her and perhaps she has sought a responsible version of him in her much older suitor, whom she plans to marry. In this setting, Roberto finally sees Bruno for what he is--and he insists on returning to Rome. But as they begin the journey home, Roberto comes to a realization: he has just had the two best days of his life and he tells this to Bruno. The film is in high gear at this point. NO SPOILERS -- Both actors are brilliant, even with French Trintignant dubbed by an Italian voice actor, and they compliment each other perfectly. We see a lot of Italy: Rome, the countryside and the coast, as well as numerous ordinary citizens. A strong, often beautiful film.