Le Fanfaron

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.

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!

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.

Kurosawa said a truly great movie should be enjoyable. That's certainly the case with "Il Sorpasso". You can watch it as a comical road movie. Or you can watch it as a snapshot of Italy's economic boom and carefree euphoria of the 1960s. Or you can watch it as a coming of age film. Or you can watch it as a profound philosophical commentary on living in the moment. One way or another, just watch it.

"Bruno" (Vittorio Gassman in his first comic role) is a smooth talking, fun-loving, overgrown adolescent who lives his life hour by hour. By chance he encounters "Roberto" (Jean-Louis Trintignant) who is a shy, sheltered introvert. Somehow Bruno shanghais his reluctant young passenger into a cross country road trip. The rest is anybody's guess.

Many have credited this film as kick starting the road movie genre. "Easy Rider" which came out in 1969 was directly influenced by this film, as are films as recent as "Sideways" (2004). Strangely enough, in the 70 years since "Il Sorpasso" I don't think any road movie nailed one particular defining quality as well as director Dino Risi did here. Although this film is very episodic, with characters fleeting in and out like in all road movies, Risi and the camera take extra care to give importance to even the most trivial characters. People who don't even say a word but whose presence imply entire stories unto themselves.

This also adds a tremendous amount of interest and intrigue to this otherwise breezy presentation. The 2 German girls from the beginning... will they show up again? What about the waitress "Dark Eyes" who gave Roberto such a meaningful, lingering stare? Or Aunt Lidia, whom the camera graces through a window as they're driving off and she mournfully puts her hair back up in a bun... what's her story? The film is packed full of moments like that, and we realize that this movie isn't just about our 2 main characters and a handful of others, but it's about everyone whom the camera catches.

You'll notice this almost immediately. The film begins in a completely deserted Rome where the 2 protagonists meet, and from there almost every person they meet is significant, all the way up to its memorable conclusion. Guaranteed you won't forget this film.