So many times, in cases like this, usually it appeals to the figure of the “last”. What has become common this time to recognize this sad place -that is strictly well: Ettore Scola, the last of the great filmmakers of also largest cinema Italian twentieth century was one of the perhaps creators of a unique period in the history of cinema. Production and revistaron signature alongside that of peers who have left, like him, are essential brands. Federico Fellini, Pier Paolo Pasolini, Michelangelo Antonioni, Dino Risi, Mario Monicelli, to name a few
this impressive range, with peaks of imagination, delirium vanguard of humor and reflective transcendence, Scola struck a middle ground or, as would the renacentistas- to the measure of man. But if you have to find a common denominator that spans the entire production it is that its mark was to rank the art of comedy, with perhaps not as reideras situations, but almost always pithy implications.
It was with Dino Risi, precisely, with whom he exercised -in partner with Ruggero Maccari- an amazing versatility in the screenplay (he already had experience because he participated as screenwriter “in black” in about fifty movies). With Risi came to Argentina in 1964, but critics of the time were unaware: he was the writer of Il Gaucho (An Italian in Argentina), alleged sequel to Sorpasso Il , starring Vittorio Gassman. It was time to stand behind the camera: the same year he debuted as a director with It permettete, parliamo di donne, title in Argentina was partially preserved with that Parliamo di donne evidencing that the Argentine public took to the mainland cinema as their own.
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The news hit the Roman night
He was born in spring 1931 in the village of Trevico in the province of Avellino (Campania), but soon after the family moved to Rome, the rione Esquilino, to be precise. Full fascist era, which retain small Ettore harsh memories; some reappear in Unfair Competition (2001); other subtly slip in home frame that monumental traveled 80-year history of Italy was Family . But the film that revives with more force this time was the meeting of two frustrated beings (Sophia Loren and Marcello Mastroianni) on the emblematic day of July 1938 in which Adolf Hitler leads visit to Rome: A Special Day , one of the most acclaimed films (although they did not win) at the 1978 Cannes Film Festival.
A few years earlier, in 1975, Moscow had given him his Grand Prix Festival laying perhaps emerging as the capolavoro We had loved so much (1974), another of his “trips” through the history of Italy (this time with the invaluable support of Age and Scarpelli, the greatest Italian writers of his age), since the end of World War II, film in which three huge figures of cinematic art in the country adhere to the reconstruction of Scola playing themselves: Fellini, Mastroianni (both played the night of shooting La dolce vita in the Fontana di Trevi) and Vittorio De Sica, who dedicated the film Scola and others-who-at stated otherwise disciple at least his follower.
We had loved much Oscar nomination, but did not win. But he said the most dominant line in the tortuous path of a vast production aesthetic sometimes conflicting, with amazing jumps, from the plausible grotesque Ugly, Dirty and Bad the romantic rapture and almost melodramatic Passion of Love (the deployment of most beautiful of his films, vintage 1981, on a novella of Iginio Ugo Tarchetti), or classical theatricality of The voyage of Captain Fracassa ( not forgetting that other reconstruction was The Night of Varennes (1982, with Mastroianni in the role of a Casanova decadent).
But it was the imprint of the commedia in some measures were imposed as the guiding canon of his inventions to stain much of his work, even in a title that plunges into a tragic outcome, Jealousy Italian style (1970), which hints of irony entry title, in the manner of the evening tabloid titles: Dramma della gelosia (Tutti i particolari in cronaca) , something like “a drama of jealousy (all details in section police). “
People of Rome was the film of his departure” official “in 2004. Eight years later, at a meeting in L’Isola del Cinema, writing these lines dared to blame the veteran filmmaker that stubborn silence, when in fact he still had much to give, what Scola-in a politically difficult time in his country responded with an undeniable feeling: “You had to count and say I said; Now, this is not my reality, not Italy for which we fight and, moreover, I can do the film does not look like you do today. “
However, a couple of years then they convinced him to pay tribute to Fellini, who had been his friend, his Fratello Maggiore , and again. So that rare evocation of times writing magazine political humor arose Marc’Aurelio , both filmmakers shared in youth, before the giants came to be. So, Strange that Federico call me (2013), with the collaboration of his daughters Paola and Silvia was the final farewell to Ettore Scola “The city that loves, once and forever, is where you can make a match.”: the phrase of Marc Augé anticipated Scola when he transformed, as anyone, restaurants and squares of Rome in spaces full of affection, in the wonder of film, live forever.
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