Une vie difficile

In this heart-wrenching comedy directed by Italian cinema giant Dino Risi, Silvio Magnozzi's "difficult life" follows the trajectory of Italy from the proud moments of the Resistance movement's struggle against Nazi occupation to post-war domination by wealth and privilege. Magnozzi, a writer and journalist played by Alberto Sordi, does not give up the dream of an alternate future to capitalism and the extreme inequalities it engenders. He meets Elena, the love of his life, while he is fighting the Nazis; but after the war she is torn between his dreams and the petty social- climbing schemes of her mother. So while Magnozzi refuses to sell out, choosing to defy the fat cats and to write truthfully, Elena waivers.

The film is often classified with the New Italian Comedy, a genre that emerged from the hard-hitting political narratives of Italian Neo-realism and retained their critical edge while softening it with humor. "A Difficult Life" has a bitter tone compared to most of the films of the period; even in many very funny scenes the anger and defiance are never dispelled, and Magnozzi pays a heavy price for his heroism.

Sordi's performance is brilliant (Italians refer to him as "Albertone", perhaps best translated as "Albert the Great"). In his portrayal of the clown as hero, every gesture is meaningful and touching. Lea Massari, one of the great Italian divas of the period, also has a stand-out performance--and the supporting cast (including Claudio Gora as the boorish multi-millionaire) never misses a beat. The period details— from the newsreel footage to the flashy cars, beach parties, and fur coats of the post-war boom-- are handled expertly. A must-see for any lover of Italian cinema. '

Alberto Sordi is a talented actor, but other than Lo Sceicco Bianco, I have yet to find a movie where I have enjoyed his character. In this movie he plays an annoying self-centered loser who repeatedly abandons his wife/girlfriend and still gets her in the end. His difficult life is all of his own making. I would say that all self-centered losers should watch this film, but maybe they'll learn the wrong lesson. Don't waste your time with this movie.

A film that aims to give a critical image of post-war Italy. A society sold on the values of consumerism, capitalism and corruption, completely forgetting the revolutionary dream of those who fought against fascism. Silvio Magnozzi, the character played by Alberto Sordi, is precisely the symbol of these communist fighters, who do not want to surrender to the economic miracle of the bourgeois nouveau riche and, for this very reason, have a difficult life, without money and without family. It is an Italy that has forgotten its values and lives only on appearances and trivialities.

The message is interesting, but the content is superficial. Alberto Sordi is not very convincing as a revolutionary. Nor does his character show great ideological convictions, lost between his love for his wife and the revolution and constantly surrendering to alcohol.

As a social critique, the film falls short. As a comedy or family drama, it completely fails.

It is certainly not one of the best moments in cinema, neither by Sordi nor by Risi.

I'd say that it is the most Italian movie I've seen in my whole life (and yes I have seen a lots of them). The keyword is LAZY.

OK, there are a lot of things happening around the characters of the movie- the time is WWII. of course it was a hard time for Italians- Germans occupying Rome etc it isn't that they don't care about them. They do. anyway they don't do anything special, revolutional or hysterical. They just enjoy the life. maybe it wasn't the main idea of Dino Risi when he was making the film but is the main idea for me.

Perhaps I like it so much just cause for the first time I saw different Alberto Sordi- not that kind of crazy and stupid, and greedy man who all the time is jumping around and eating pasta and telling far-from-clever jokes to far-from-sexy and hysterical women. Maybe it is because first time in my life I heard the Italian hymn (Fratelli d'italia) used as a background in a movie and it didn't sound neither officious nor impertinent. Perhaps it is because of the atmosphere that is so lazy and romantic- the conversation scene in the bed in a lodge placed in the middle of the forest between Silvio and the young girl while his friends partisans were 'playing with the guns' outside. This is the way I saw Italy for the last time I was there. It was in autumn. Don't get me wrong- the events aren't taking place in autumn. It's just about the atmosphere.

I will lie if I say that this is a very important relating the history of civilization film. It isn't. It doesn't solve any psychological or political problems neither. Maybe it is more for those who are excited with Italy for the right reasons but don't live there yet/anymore.

Written by Rodolfo Sonego, who, like the protagonist, was a partisan during the war, i.e., an antifascist resistance fighter, and directed by Dino Risi, Una vita difficile follows Silvio Magnozzi and the struggles he faces in his personal and professional life as a journalist and aspiring novelist. A movie that, at its core, could be influenced by Italian Neorealism considering the realistic depictions of the social problems in post-war Italy. Nonetheless, Risi's approach is, most of the time, humorous, never ceasing to find comedy in struggles. Alberto Sordi's sensibility combines an expertise in comedy and drama to give Silvio a mixture of idealism and cynicism in a story that takes place between the end of World War II and post-war Italy. The movie is interested in portraying the changes Italy went through and the difficulties that blossomed as a consequence. There's a dichotomy between what is happening in the life of Silvio, misadventures that render many moments humorous, and what is happening at a macro level: Italy's emergence as a republic after a referendum that put an end to fascism. Dino Risi portrays the political changes of an era not only through the eyes of our protagonist but also in an objective documentary-like fashion, taking actual footage of the events and including them in the movie, rendering his filmmaking an exercise in fictional realism.

The echoes of these changes manifest in Silvio's life. From posing ethical questions to existential ruminations. The movie raises the question of whether it is possible to live on one's own terms when they're challenged by the articulation of normative restrictions by translating Silvio's love for Elena (Lea Massari) but also for his profession as a writer and novelist into a dilemma where the options are postulated as mutually exclusive possibilities. The hegemonic desirability of what one has to do or be is never posed by the "I," but by societal norms whose authorship is never singular and cannot be pointed at. Has dignity a price? Can it be bought? Silvio's existential dilemmas, where his ethics as an idealist contest economic livability and what is deemed as "normal," will find resistance in different ways, e.g., his mother-in-law wants him to study architecture to better provide for his family. This is the reason why its humor is effective, but also the tragedy behind it. Una vita difficile exposes that we are nothing but cogs in the capitalist power structure machine incentivized to pursue superficiality and vapid consumerism. A society obsessed with material consumption.

Equally a character and historic study, Dino Risi's Una vita difficile is an entertaining commedia all'italiana that successfully achieves humor and profundity at the same time. An invitation to indulge in the charm of romance with music so beautiful as to be, once again, evidence of how important it can be in changing the feel of a movie.