This regret of Carlo Vanzina

Carlo Vanzina died while bringing with him the regret of not being understood, to be, with his brother Enrico, "that of cinepanettoni". In one of his last interviews he wanted to reiterate: "In a serious film like the American, we Vanzina would be revered as Spielberg But here we must be ashamed". And the director remembers, in this sense, the odd spell of Totò. "When they gave him one of the few awards received in life, there was only my father at the ceremony who found him in the locker room crying. " Always Carlo explained it so because he had devoted his whole life to the cinema of entertainment: "The Italian comedy exists in all the streets of our country, something completely natural. The fact is that Italians are able to find the comic side even in tragedies. After all, we often forget it, we are the country of Totò ". Director, screenwriter and producer, born in Rome on March 13, 1951, Carlo has lived in the world of cinema since childhood (already a year was the little Filippo in Totò and the women led by his father Steno). But the fact that he was favored for his background in his film career was not ashamed at all. On the contrary, on every occasion, he remembered, gratefully, the figure of his father and the fact that everyone in his house had pbaded: characters like Totò, Ugo Tognazzi, Mario Monicelli, Ennio Flaiano, Mario Camerini and Dino Risi . But the Vanzinas were those of Christmas 1983, considered the father of all cinepanettoni, and they were afflicted. For many critics, the brand Vanzina represents a vein of movies to avoid, exasperation of a popular cinema often vulgar and re-arouse. However, there were those who had very well explained their cinema
In 1994, in the book The culture of Italians, Edmondo Berselli wrote: "The films of Vanzina are deliberately artificial, without pretension to summarize lives and exemplary experiences in an artistic and political function … These are pure objects that line up a series of Polaroids on the 80s … One could also agree that the indiscriminate human fauna that people holidays at the sea and the mountains of Vanzina, even in the absence of a "critical" social intention, it looks like a damn reality. " The characters embodied by Christian De Sica and Mbadimo Boldi, but also by female performers like Stefania Sandrelli and Isabella Ferrari, are "types" of different social clbades and regions, who frequent the same places and speak the same language, that everyone from among us believes to have met in life. Perhaps, with more attention to the Vanzina movies
we would have better understood where Italy was going to parry.