Le Fanfaron

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.

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!

When Bruno hits the road in his Lancia Aurelia B24 sport with the nerdish Roberto, it's a whirlwind ride for the audience as well, with your emotions riding high throughout. Gassman's "Bruno" is as perfect a portrait as one can imagine of the Italian who just floats through life, never taking things or others very seriously, always finding shortcuts and discovering truths that others disparage or fear. He's the classic embodiment of the Italian "furbo" (wise guy), who thinks he knows how to "play" the world and all the people in it. One of the greatest cinematic explorations of the stuff of contemporary life you'll ever see and the possibilities (all too limited) of overcoming the alienation inherent in it.

In the hot Roman summer law student Roberto casually runs into Bruno a strange but amusing man who is heading in his fancy sports car to a nearby beach to meet with friends. Bruno insists and Roberto decides to join him for the day. "Il Sorpasso" is about the relationship -of just that day- between two such a characters. Bruno thinks of nothing but enjoying life and is self confident, sort of a person that refuses to admit the pass of time (he's already in his forties and hasn't settled at all yet); Roberto, much younger, is a classic guy, sort of shy and obedient of his family's wishes about his future. At first Roberto doesn't approve of Bruno's idea of fun by insulting and humiliating people, but as they go together he turns into a sort of rebellion against his all planned and predictable life and shows a bit of admiration for the older man who doesn't go along with social premises.

Shot in beautiful Italy in the sort of "pop" early sixties, "Il Sorpasso" is a wonderful film which deals with true life and true characters. Dino Risi carries the film perfectly and shows us a great variation of common real life characters that one way or another get involved with Bruno and Roberto. The movie appears clearly as a comedy -and a real amusing one too- but at the very end it turns into drama and makes you think a lot. Classical 60's Italian music fits perfect.

Gassman is outstanding as the intelligent and sort of mean Bruno (I can't think of any other actor that could have played the role so perfectly) and Trintignant does a very good job too as the insecure and strcture minded Roberto.

A great movie worth seeing. You'll sure enjoy it.