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Are we dealing with Alberto Sordi's top interpretation? Maybe not, but we are as close as hell...Anyway, superbly directed by Monicelli (once again, excellent job done in Cinecittà Studios recreating the early 19th century Rome), Sordi impersonates eccentric Marchese del Grillo, who actually lived, although not in the same period the movie depicts. Monicelli uses Del Grillo's myth and his plethora of jokes to expose the hypocrisy of Vatican and noble Romans, while ideas such as "freedom, equality and brotherhood" were slowly penetrating in the conservative Vatican State. Marchese del Grillo is surely a life-lover and an intellectual in his own way, and does not feel satisfied in narrow-minded 1815 Rome, despite (or maybe, because of) his wealth. He befriends frenchmen, enjoys spending time with common people and doesn't mind to corrupt a whole jury just to show that "justice is dead". While the first part of the movie may be just biographical (and extremely funny and full of unforgettable punchlines), the movie has its pivotal point when Marchese discovers he has an exact lookalike, who works as a coal seller (also played by Sordi, outstanding in his double role) in popular Rome. By trading places with the coal seller (often drunk, thus not really understanding what's going on), Marchese gets the chance to get rid of his family, the Pope Rome to join the cradle of European intellectual life, Paris. Sure, Alberto Sordi is by himself worth watching the movie, but nevertheless, Monicelli manages to show us an unusual side of History we often see or read. And by doing this, he also throws in the movie an handful of unforgettable characters both fictional (the coal seller, Don Bastiano, Ricciotto) and actual (Pope Pius VII, a noble family, such as the Del Grillos). Well, in the end, a must see, a movie with a double value: an outstanding comedy and a valid historical film.

Although we must appreciate the effort done by Bruno Corbucci to recreate Rome's early 20th atmosphere, the movie rests on one huge, incoherent flaw. Set in Rome, with popular characters such as fish-monger Nino or butchers (the Di Lorenzo bros) in the leading roles, one cannot understand why the leading role of Nino is being played by a Milan native, that is Adriano Celentano. For instance, Celentano tries his best to mimic roman slang or accent but he miserably fails. It would be like having a native new yorker playing an Australian guy, in terms of accent. Anyhow, the film has some remarkable highlights, revolving around the story of fish-monger Nino, Er Più (i.e. "The Most", no adjectives required) of Rione Borgo. He is in love with Rosa but he always manages to postpone their wedding. Meanwhile, also Augustarello strives for Rosa's love, only to be constantly rejected. When things get nasty, Augustarello's brother Bartolo, Er Più of S. Giovanni neighbourhood intervenes, to settle things out with an epic knife-fight. The film is indeed an accurate picture of roman popular life in those days, where things were often settled out with violence and knives. An honorable mention goes to the including of MardiGras ceremonies and of the infamous Passatella, a "game" which actually consisted in just drinking wine, and where the aim was to leave just one of the participants without drinking one single drop of wine (this was considered as a big disrespect). Actually, this is the turnaround of the movie, where things between Nino and Augustarello get hectic. Also very accurate is the reconstruction of a knife-fight and his paraphernalia, including the particular honour-code which ruled the lives of early 20th century neighbourhood bosses. Then again, one cannot help but wonder why director Corbucci picked Celentano for the role, when brilliant roman actor would have perfectly fitted in.

Maybe the first movie exploring life in roman slums (the infamous "borgate") since well-known Pasolini's efforts, "L'Odore Della Notte" is based on a true story, and the gang it tells about was dubbed "clockwork orange gang" due to their style of robbing people in their own houses (ink was spilled on italian newspapers wheter Kubrick film had a bad influence on criminal minded youth). The film goes straight to its point: analyzing the mind of the group three main components. The boss, Remo Guerra (Valerio Mastandrea, perfect for the role) is on a war against the world: after a short stint as a policeman, he's fired from his duty and leaves the corp as he couldn't stand the dull life under narrow-minded superiors. His efficiency and kept-to-the-minimum dialogues during robberies derive from this experience. Maurizio Leggeri (superbly played by Marco Giallini) is just in for the money, so that he can afford great wheels and get out from the borgata. Roberto is maybe the only component who commits crimes to feed his family and is shadowed with the idea of going to jail, so he soon leaves the group, forcing Remo to buy a bar and get out of the crime business. When the bar is submerged with debts Remo has no choice but forming the group again, replacing the skeptical Roberto with ill-mannered hulk "Rozzo" (self-explaining nickname meaning "rough"); Maurizio soon shows back but with a slight coke trouble...the gang is up to no good. In the final showdown, the three burst into a supposedly rich house, where they find a politician from Democrazia Cristiana (political party with strong catholic influences), a priest and the members of a chic family. This group is convinced to know the reasons behind the insane acts of the gang members, who in spite, are looking for no understanding from the people they're robbing. A movie without frills, telling an interesting story of human cases, slums and how to get out of them. It's not difficult to find strong critics to italian attitude in those years, political parties and police included. Let's not forget, the film is set during the "Lead Years" (Anni di Piombo), when Italy was hardly struck by terrorism and "normal crooks" were often overlooked. Nevertheless, one can not help but think that the city of Rome and its darkest side play one of the main roles in this movie. Last, but not least, there is a remarkable and hilarious cameo by italian singer and Elvis performer Little Tony, who is forced to sing his hit "Cuore Matto" under the threat of a 9 mm.