Le Fanfaron

The first time you see this film, it might just pass you by as light-hearted, but the ending will force you to dwell on it. This is what happened to me. A closer look revealed that this is a profound, double-sided, paradoxical film. Vittorio Gassman and Jean-Louis Trintagnant project opposite perspectives throughout the film, so that each scene contains both joy and sadness, intoxication and contemplation. As they drive from place to place, Gassman's life force is placed at a critical distance by Trintagnant's presence. Both performances are brilliant. A great film, poetic, bitter-sweet, unforgettable.

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!!!)

Bruno (Gassman) is bored beyond his considerable wits revving about in sports car around a deserted suburb of Rome when he comes across law student Roberto (Trintignant), a nerd if ever there was one, and promptly decides to bring Roberto out of his shell.

Clearly, Bruno is moved by good intentions but they are far surpassed by his selfishness. Life really centers around Bruno and what he wants. He invites Roberto for a spin and to a meal at a smart restaurant, but poor Roberto has to foot the bill, and from that moment on you realize that Roberto has been ensnared in the spider's web of Bruno's charm-laden selfishness.

Bruno is a dedicated womanizer, to the point of trying to pick up his own daughter, who he has not recognized, and who has to remind him of her status - but he is certainly not embarrassed by that, or by any of his many self-centered blunders, and disrespect for anything legal, speed restrictions and traffic cops included.

And so the trip in the sports car becomes a road trip, taking Roberto ever further away from the safety of his studies paid by his parents, and into a revolving society that merges post-war Italy with the 1960s, all to glorious soundtrack that includes songs like "Guarda come dondolo" and "Cuando Cuando Cuando," among others.

Photography is effective and economic, never getting in the way of the development of the story.

The acting is uniformly outstanding, even minor characters grab one's interest. Gassman is brilliant as he gate-crashes parties and breezes in and out of everyone's life. Trintignant is the reserved counterweight, mesmerized and sapped of will by Gassman's magical personality and sleight of hand. In between, one has a glimpse of Italy's fast-changing society and inevitable shortcomings.

Direction is superb. The great Dino Risi was certainly at his best in this celebration of life, a timeless masterpiece that not even the B&W photography or the 1960s time capsule can hold down.

Enjoy the wonderful ride - but keep your eyes peeled and learn from it!

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."

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.