La Loi

In this heavy Jules Dassin drama, you're treated to an Italian landscape, an Italian-sounding plot, and two popular Italian actors...speaking French. This feels like an Italian movie, but it's in French, so if you like old European dramas, you're going to love this one.

The residents of a poor fishing village are controlled by the powerful Yves Montand. He's menacing, wealthy, and has enough influence to get what he wants by any measure. In the evenings, he plays a drinking game called "The Law" with the men of the town. Whoever is boss for the evening gets to say insulting things to anyone and force the players to humiliate themselves. While this game is the title of the movie, it's more of a symbolic title rather than being the main focus of the plot. Yves may make "The Law" in the evenings, but he also runs the town during the daytime.

I've never been impressed by Yves Montand, but I've only ever seen him in movies where he was forced to speak English. Evidently, the language barrier greatly impeded his acting ability, because in La legge he was fantastic. I didn't even know it was him until halfway through the movie when I remembered who was in the opening credits. He was incredibly frightening, and it was clear he had a love of power and great hopes and dreams for his family. Great villains are not just evil, but they show the audience their motivation. Bravo, and please accept my apology, M. Montand.

The concurrent plot in The Law is Gina Lollobrigida's own power over the men in the town, similar to Yves's control. She can drive a man to madness because her tight dresses and sensual movements make him half-crazed, but in her great power, none of the men who desire her ever force themselves on her. She may not be a frightening force in the town, but she has just as much power. While Yves has his mind set on seducing Gina, she has her heart set on marrying Marcello Mastroianni. This is a pretty racy movie for its time, with love scenes that undoubtedly made Will Hays of the Production Code blush. There's violence, incestuous themes, infidelity, and enough tight dresses to make you forget all about Sophia Loren. Seriously, folks. Gina is so beautiful and distracting in this movie, it's a wonder any other Italian actress ever became popular. And she speaks three languages! Marcello's French accent is also very good, so if you want to see these talented linguists, you'll be in for an extremely entertaining and steamy movie night.

Kiddy Warning: Obviously, you have control over your own children. However, due to sexual content and violence, I wouldn't let my kids watch it.

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. A couple of minutes before the end, after Melina Mercouri asks for a drink, there's an abrupt camera spin and it will make you sick. In other words, "Don't Look, Mom!"

The director Jules Dassin was able to draw well the reality of a small village in Southern Italy, where the existing rules were applied with a double standard. The priest was very much concerned with the attitude of Marietta (Gina Lollobrigida), but not with other situations affecting the town. The game called "la legge" (the law) was not an entertainment instead it was a weapon of intimidation. It appears to be as the behavior of strong animals showing their powers over weak ones. This is an old film, which could be useful to be shown in Italy again. Dassin was able to show various details and characters of the life in the village: the patriarch (Pierre Brasseur), the "pidgeon" (Yves Montand), the man of well-doing (Mastroianni), plus the lady of the family or la Donna(Melina Mercouri) and Marietta, likely to be a kind of spoiled Cinderella. All these ingredients put coherently in an interesting plot made the film attractive to be seen and not only once.

The Law exists somewhere in the realm between a Hollywood soap opera and a European art film, with a dash of sexploitation.

This film is all about power--how one gets power, how one can use power (to lay down The Law, or lose power, and how power relates to sex. This film is all about sex. Sometimes, it feels like it's all about Gina Lollobrigida's boobs.

The all-star European cast are all good, especially Lollobrigida and Yves Montand, who has the meatiest role in the film, as a complicated local hoodlum who wants his son to become a lawyer, who wants to be the one to lay down The Law, and who very badly wants Gina Lollobrigida, who doesn't want him in the slightest.

Sometimes, the film approaches high camp, such as a couple of odd and unexpected musical numbers, and when Marcello Mastroianni and Gina Lollobrigida romp in the surf amidst a flock of sheep, or when Gina Lollobrigida is strapped to a table by her mother and a couple of jealous maids and whipped (and with a bowl of hot chilis behind her head that's photographed to look like a halo).

It's a gorgeous film to look at. There's Gina Lollobrigida's boobs. And then there's the quaint, crumbling little backwater Italian fishing village, sumptuously photographed in that deep, saturated mid-century black and white. And there's the sea. It looks straight out of a Fellini film.

Jules Dassin's direction is lively and stylish, and keeps the film eminently enjoyable throughout. He veers effortlessly between the comedic and the sinister and the sexy, often in the same scene.

But, although I found the films very enjoyable to watch, I do have some problems with it. It felt sometimes that Dassin was trying to cram in as much of the material from the novel as possible, even when it didn't best serve the film. There were multiple storylines unfolding, but the film's two-hour running time was not enough to accommodate them in any depth. And so the film meandered back and forth between characters and situations without a great deal of focus. I think Dassin would have done well to trim a couple of the storylines entirely, which weren't fleshed out enough anyway.

Still, though, this was solid entertainment. 8/10

(1958) Law/ La legge (In French with English subtitles) DRAMA

"Law" as the movie is called is a type of game this small village sometimes plays, and yet somehow echoes like this in real life. Based on a novel written by Roger Vailland, which takes place in a Mediterranean community, where jobs are scarce and the people living their appear to help one another. The movie has film veteran, Marcello Mastroianni as Enrico Tosso which they nickname l'agronomo comes to visit a wealthy baron, Don Cesare (Pierre Brasseur) requesting for his daughter Marietta to be his servant for a reasonable amount of money. She declines but rather want to be married to him instead. What's resonating is the fact that it centers on this small community and it is interwoven together in which we as viewers can identify with, since things were different back then. Was this about what happened when the Great Depression hit or when stealing was the only means of making a living? Director Jules Dassin does not say, for he just presents the characters as they're without worrying what the audience thinks about them.

This could have been a great movie, but it is almost unbelievable the way in which Dassin looked at Southern (I repeat: SOUTHERN) Italy in the Fifties of 1900. I was a boy, I did not live there, but in that South I spent my holidays. The best holidays I ever had, due surely to my (then) splendid age and to my (then) splendid country.

A young woman dressed like Gina Lollobrigida could never be seen in those years walking the streets of a southern Italian village.

The magnificent place where the movie was partly made is Peschici (Gargano, Puglia). The name Manacore, in fact, was later used for a very elegant and costly touristic place. I spent several holidays there in the Sixties, and (let alone the Fifties!) never saw a woman dressed that way. And, as far as I remember, they did not go to the beach albeit wearing a diving apparatus (complete of snorkel).

And the music in the local festivals (dedicated to saints, with parades, priests, candles and so on) was very different, almost always neapolitan.

Mrs Mercouri and Ives Montand are surely not at their best (to be kind), but we really re- discover a woman which was at most considered a pin-up, and on the contrary was really a great actress: Gina Lollobrigida.

Brasseur is OK, very human and credible. Marcello Mastroianni as usual shows how one can be a great actor with the minimum of mannerisms (or not at all).

A movie which unfortunately aged very badly.