Qui rido io

QUI RIDO IO (2021), a film by Italian director Mario Martone, can be summed up in two words: Toni Servillo. The actor's genius allows him to incorporate the different facets, not always pleasant, often contradictory and even immoral, of Eduardo Scarpetta (1853-1925), actor and director who marked Neapolitan comedy at the end of the 19th century and beginning of the 20th century, to a great extent. Partly due to the comic character he created, Felice Sciosciammocca. Actually, the first scene of the film is a long sequence that culminates with the appearance of this character on stage, which leads the audience to great euphoria.

However, as we progress in the story, we realize that this biographical film intends to direct our attention to a very concrete episode in Scarpetta's life. By parodying the tragedy "La Figlia di lorio", by Gabriele D'Annunzio, one of the most important Italian poets of the time, Scarpetta is accused of plagiarism, finding himself involved in a complex legal process, which puts in risk the conquered success.

The scenes in court are a delight for the spectator, with emphasis on Scarpetta's intelligent argumentation, raising very current issues, related to the notions of plagiarism, adaptation, freedom of expression. In the case of the "King of Laughter", it is not surprising that the film culminates in a comic performance by Eduardo Scarpetta, who transforms the courtroom into a theater stage.

Director Mario Martone decided to illustrate the always articulated and complex essence of the Artist, and the peculiar relationship out and on the Scene.

And he does it by telling us the story of one of the most important and revolutionary men of Theatre: Eduardo Scarpetta.

Head of the large family that has long marked the essence of Neapolitanity at the theater and not only, representing the soul of the people who can finally recognize themselves in the spirit of his characters, starting with the emblematic mask of Felice Siociammocca. Eduardo is a proud and diligent author, whose aura continues to glimpse successfully thanks to the laughter of the public, and claims the same rigor from all its actors, especially if tied to him by bloodline, looming on their dreams and aspirations like an oppressive shadow.

But everything is soon destined to converge towards the abyss, when he decides to touch with a parodic intent the work of the main poet of Italy, Gabriele d'Annunzio himself. It follows a overwhelming trial for plagiarism that will indelibly mark the figure of the comedian, strongly questioning even his already chaotic family relations, a great lineage of legitimate and illegitimate heirs, in particular the still very young but more than promising De Filippo brothers

A particular tale of contrasts, expectations and stainless reticence to lower the curtain on what is now the last act for a legend that constantly refuses to address reality and also recognize the rights of others as well as his own, impassive in front of the flowing time and the nature of one's Art.