Le Fanfaron

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.

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.

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!

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.