Le Fanfaron

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!

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.

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.

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.

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."