Reality

Reality is a fitting title about a man who totally lost it (his own sense of reality).

Part satire, part a comic-tragic portrait of our world with its vanities our hero is just an everyday guy who is a fishmonger, and like many others has a souse, children with all that goes with it.

His world is shaken when following a brief performance in a wedding reception he becomes acquainted with a celebrity and the desire is born in him that he can be part of this world, the world of stardom, wealth and recognition.

So by making use of this brief acquaintance he enters a competition to join big brother and does so in the certainty it will be his passport to fame and fortune. The contact with fame though ludicrously brief it is enough to cause him a great deal of harm.

The harm came in the form of obsessive behaviour, paranoia and hallucination causing a loss of his own self awareness and disregard for all those around him.

A charmer of a movie about vanity, obsession and a surrounding culture that feeds us these kind of fake feelings and desires.

Mostra la reality non il reality. Hahahhahahahhahahshhahahsh

I'm not afraid to admit that I actually prefer this film to Garrone's previous characters-melange crime-drama GOMORRAH (2008, a 7/10), albeit both won Cannes's Grand Prize of the Jury in their respective years.

I watched the film in KVIFF a few days ago, and I am thrilling to see that there is a change of attitude in detailing a riveting story of Naples people's mundane life, about a reality-show sparks a never-be-quenched yearning of a Naples fishmonger's pipe dream of becoming a reality-star, which turns him paranoid about his surroundings and mars his and his family's life, and all winds up in an ambiguous ending.

REALITY has a drastic alternation in its visual impetus, a Fellini-esque Napoli milieu (with the mammoth structure of kins under a dilapidated tableaux), which could instantly gain some positive impression from the film's opening sequence, which induces a tremendously lush wedding ceremony. A comical tone has never ceased to hover around the typical but accurate portrayal of the workaday life of our protagonist and his family (a hanky-panky retail business of pasta-making robots is the highlight) until the latter part when everyone on screen and offscreen realize the one-sided opportunity will never arrive except for our leading man in the film, so literally how miserable his ending would be has grown into the main concern hanging the film's weight. And there would be a great chance it would plunge into an irreversible maw of tragedy, but luckily it doesn't, Garrone alters a lightly grotesque route and resorts to a more theatrical maneuver to leave the finale in a spell bound shot, effectively ridicules and bashes the reality-show oriented credo in the present-time.

The gorgeous score from extraordinarily talented composer Alexandre Desplat is another selling point, seamlessly goes with the plot, and thwarts a likely bathos when the soothing comedic temper is steadily mitigated and the film veers to a suspicious restlessness and ultimately the irrational madness.

The cast is plainly spot-on in spite of Aniello Arena's over-handsome and beefcake image as a fishmonger, Raffaele Ferrante's rendering of a reality-star who originally rose from the mass, is both hilarious and sarcastic in stressing the ill-infused celebrity-rules notion, which is indubitably not the only entrance to fame and fortune for those wide-eyed dreamers.

Garrone's magical movie opens with bows to two great scenes of Italian cinema: the ornate wedding carriage recalls the child's funeral procession from The Gold of Naples, and the helicopter-borne star of a reality show replays the helicopter ride of Jesus in La Dolce Vita. These images evoke Italy as the longest-running "society of the spectacle": Roman games; Renaissance princes and popes who conned everyone, as Machiavelli says; the splendors of the Counter-Reformation Church; and media mogul Silvio Berlusconi with the sun in his pocket-"il sole in tasca." Luciano--fish monger, petty con artist, and pater familias--longs to be cast in a reality show called Big Brother. His quest becomes increasingly obsessive and fantasmagoric, and his extended family shifts from humorous support to escalating concern. Will his dream come true? Aniello Arena in the part of Luciano is terrific and will capture your heart; he has a surprising and poignant story of his own, which you can check online for yourselves. Garrone is a master of production design, creating exuberant post-modern sets in which decaying Neapolitan palazzi mingle with malls and water slides. This movie is perhaps not for everyone-only for those prepared to enter a world that is theatrical, flamboyant, sentimental, and ironic--one that calls for a sense of humor and a big heart.

I learned of Matteo Garrone from his 2015 movie "Tale of Tales", an unusual spin on fairy tales. It turned out that he had earlier directed 2012's "Reality". The movie is part focus on Italy's working-class population, part indictment of reality TV's exploitation of "real people". The plot involves a fishmonger who gets chosen for a role on a reality show.

I should note that if you're only used to stereotypical Hollywood movies, then you'll want to avoid this one like the coronavirus. Much of the movie consists of long takes, focusing very much on the dialog. A good thing, if you ask me. I would like to see more movies about people and the modern world's impact on them.

I don't know if I would go so far as to call the movie a masterpiece, but it shows the Italy that exists beyond the fashion shows, bike races, etc. Worth seeing.