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Goodbye Carlo Vanzina . The Roman director was 67 years old and had been ill for a long time. Volente or nolente, with Vacanze di Natale (1983) he invented, with his brother Enrico a very loyal screenwriter of all his films, which we will later call the vein serial of " cinepanettoni " A popular and comedy comedy of films which will then be mbad produced, under the title of "Vacation in …" (but not only), for go out every year under the Christmas holidays.Son of Steno – Stefano Vanzina – one of the most important directors of Italian comedies of the fifties, sixties and seventies (Totò in color, A American in Rome, The Two Colonels, Fever Horse, The Hot Potato), Carlo Vanzina made his directorial debut of Mario Monicelli in Toh died his grandmother (1969), then continues with the gruff and anarchic father of comedy in Brancaleone during the Crusades, my friends and dozens of other Gavetta films, however, fundamental to Vanzina because it is from there that paradoxically learns the fussiness and stubbornness of great monicelli as a certain freedom to a thematic level in scripts, and a perfect rhythm in comic times in building gags for his actors. The beginning as a screenwriter arrived in 1975 thanks to Alberto Lattuada who wants it with Giuseppe Berto for the screenplay of Oh Serafina! while the first solo behind the camera, and with his brother Enrico to the script, arrives in 1976 with Honeymoon in three stars Renato Pozzetto waiter on Lake Maggiore obsessed with the magical world of Playmen girls. Movie which is also the beginning of a gold producer for Italian comic films, Achille Manzotti. He will follow in 1978 Son of the Stars a semi-musicarello pink comedy to accompany the success of Alan Sorrenti and his hit Figli delle stelle, then the comic surreal feat with the Gatti di Vicolo Miracoli (Jerry Calà, Umberto Smaila, Franco Oppini, Nini Salerno) who sees him as director of Arrivano i Gatti (1980) and then a choir plus Una vacanza bestiale (1980)
During the relationship short and fruitful with Gatti Carlo and Enrico Vanzina know Diego Abatantuono that of the Veronese quartet is the lighting technician during the performances of Derby di Milano . From where the idea of a West Side Story to the Milanese became the cult I did with Abatantuono and Calà to argue between the streets of Milan and some fake shootings to Rome. Do you think that the file with not even half a billion budget collects more than nine billion at the Italian box office. It is there that begins the golden age of Carlo, and Enrico, inseparable from any productive and temporal adversity. In 1982, it was time for Eccezzziunale … really where Abatantuono is done in three (the fanatic of Milan Donato, Inter and Franco Juventus Tirzan), expressed by Viuuulentemente mia a Abatantuono / Antonelli not at the top. So here is the origin of the new Italian comedy that will accompany us for at least two decades
In 1983 come out at once Sapore di mare and Christmas Celebrations . The first product of Claudio Bonivento was released in February 1983 and brought in nearly 10 billion lire. Carlo and Enrico begin to sketch this kind of socio-economic up / down descriptive scheme that will soon reappear in the Christmas holidays: the poor family that squeezes savings up to the bone makes it possible to spend holidays in the prestigious Forte dei Marmi (here the bells of Pinardi) and the rich family of the fixed presence of Milan Carraro in Versilia. The sentimental plot, the one that can be sewn, scuce and ricuce, around the beach boys' chorus gags is between Marina Suma in Pinardi and Jerry Calà / Luca Carraro. The formula with the songs of the sixties (because the film takes place in the sixties) is a master stroke. In the rich cast among others there is Christian De Sica, Isabel Ferrari, Virna Lisi, Guido Nicheli . Then are invented the characters of the Pucci marquesses, the Milanese Commendatore, the rescuer Morino, Gianni the existentialist intellectual in swimsuit.
Carlo and Enrico are centered as they mix photography from a country that changes with the joyful laughs of a simple and somewhat spicy comedy. Ten months later, thanks to the producers Luigi and Aurelio De Laurentiis they are already ready with the matrix of the cinepanettone: the Christmas parties which will be diffused in the room just at Christmas 1983. Here we are in Cortina d & # Ampezzo early eighties. The same model is high, the rich Milanese Covelli and the romanacci Marchetti caciaroni. Same sentimental connection between Claudio Amendola (the son of the poor) and Karina Huff (the rich heir's girlfriend, De Sica), dozens of sub-intrigues (including one of the first representations of a homobadual in comedy like Papa Steno in The boiling boiling), a crowd of holidaymakers like Moonlight Shadow, and another casting to shout ( Stefania Sandrelli, Riccardo Garrone, Mario Brega, Marilù Tolo and a young Moana Pozzi ) statizza unicum in the panorama Italian cinema Example that Carlo as a director, with screenwriter Enrico, tries to trace Vacanze in America (1984) then with two other titles a little more sought after in terms of urbanism and social references: the comedy about the young Yuppies Milanese crawling (1986) with Calà, De Sica, Mbadimo Boldi and Ezio Greggio, and this Montecarlo Gran Casinò (1987), a film really underestimated with a bold Paolo Rossi . "It is an age that we generally consider to be superficial and empty, but at the end of this period, there was no crisis or" spread. "It was the years where the hedonism of the so-called " Milan to drink " "we said in various movies – Carlo had stated on the site Cinespresso – we put in the field dreams, feelings, hopes, a confidence in the future and in society and a widespread joy that was then still possible to cultivate and today has almost completely disappeared. "Carlo Vanzina's comedy then turns into a farce, more vulgar and tired, repetitive and Clearly think of Dreaming California which you remember especially from a scene of Boldi and his … poop; SPQR, the film set in ancient Rome with the famous joke by De Sica on a biga: "Ah Iside and famme na pump "Wild people who seem to advocate the most obvious mistakes It's a format like The Island of the Famous; or the diptych with Paolo Villaggio I do not prick English-Banzai
In 1999 Carlo returns to direct Christmas Holidays 2000 already the fifth episode of the cinepanettoni series that he had done, and will do for others fifteen years, the fortune of the producers De Laurentiis. Carlo and Enrico no longer find the rhythm and rhythm of the popular national narrative and are satisfied with some funny and reactionary comedies (see Sunday Lunch, 2004 or In this world of thieves); two sequels "housewives" such as Horse Fever – La Mandrakata (2002) and really Eccezzziunale – Capitolo secondo … me (2006); or more clbadic comedies without too many generational claims as life is a wonderful thing (2012) or I come back and change my life (2015). Interestingly, however, is a kind of sottofilone that always sees Carlo directing, with his brother Enrico to the script, in which the Roman filmmaker tries to build genre films that totally come out of the comic register. From this romantic romantic film that is Amarsi a bit (1984), a mixture of cards and actors from previous films but with a good result, until Sotto il vestito niente (1985) which is a great thriller written among other one of the writers of Dario Argento, Franco Ferrini in the fashion world in Milan, and with a Renee Simonsen who never forgets; Up to three columns in the chronicle (1990), a film that deals with the dramatic register of the dynamics of politics and the Italian economy of the eighties, which sees on stage Gian Maria Volonte and Sergio Castellitto , written on a topic by Corrado Augias. This last film, as the Vanzina brothers have said many times, went very badly because "the public of Vanzina did not come in, diverted by the presence of Will And the public of Will did not let itself be led astray by the director Vanzina. "
It is the great anxiety which accompanied Carlo in his career of forty quarries: to be clbadified like director of generational comedies and not as a filmmaker of all round, craft as long as desired, free of authoritarian claims, but competent and brilliant. For posterity, his joke that will trigger other debates, even after his death: "In a serious film like the American we Vanzina would be revered as Spielberg. Here in Italy, we must be ashamed ".
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