Archive for Il Gatto

The Elsie Beckmann Brigade

Posted in FILM, Politics with tags , , , , , on July 8, 2020 by dcairns

The opening of Damiano Damiani’s GIROLIMONI, THE MONSTER OF ROME (1972) is SO arresting. A line-up of little girls is issued with white TOBY DAMMIT bouncing balls and driven off in a black maria to act as bait for a serial killer.

And the movie continues to provide startling scenes throughout — what it can’t quite do is synthesise them into a wholly coherent drama. It is amazing how — and you wonder WHY — it manages to veer from horror (graphic descriptions of the killer’s child-mutilating technique) to comedy (star Nino Manfredi is an adept underdog). Manfredi plays a suave seducer to begin with, his attitude to the crimes one of morbid curiosity, his reaction to the cops’ suspicions one of arrogant amusement, not a very attractive character, but as his life disintegrates under the burden of unjust suspicion, his increasing vulnerability makes him more likable a, a smoothie battered into the shape of a schlemiel.

It’s a wild ride. There are some big problematic bits — the actor playing Mussolini (Luciano Catenacci) is quite strong and interesting but it’s an issue that he doesn’t look or act like Mussolini — but it’s an incredibly bold piece of writing with a beautiful seventies-does-twenties look, all soft-focus and deco. Of course, it’s nothing to THE CONFORMIST, but what is there to compare with that one?

Property Values

Posted in FILM with tags , , , , , , , on June 10, 2020 by dcairns

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IL GATTO (1977) is by Luigi Comencini, one of my most exciting recent discoveries. I like how he makes political comedies where the social commentary is inseparable from the humour: LO SCOPONE SCIENTIFICO (1972) with Bette Davis and Joseph Cotten and Alberto Sordi and Silvana Mangano was the first one I saw that made that clear. Comencini worked in a variety of genres but so far his comedies interest me most. And Sergio Leone produced this one — I don’t see any sign of him getting hands-on, though, as he did with his Damiano Damiani films. Mind you, there are a few familiar faces in the cast, including Mario Brega, who I believe got killed in all three of the DOLLARS trilogy, and there’s a perky Morricone tango as theme tune.

But the stars are Ugo Tognazzi and Mariangela Melato as brother and sister landlords of a rent-controlled tenement building who resort to all kinds of dirty tricks to drive the tenants out so they can sell the property and get rich. When their titular cat turns up murdered, they show no sorrow but see it as an opportunity to investigate and possibly get at least one troublesome tenant evicted.

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It’s a wonderfully nasty piece of work — there are no really sympathetic characters (except the cat), but the plotting gets you involved in the vicious and creepy pair’s schemes, so this doesn’t result in loss of engagement. When a foot tries to kick the feline during the opening titles and then we tilt up to reveal the owner of the foot is a nun, the tone has been decisively set.

The two leads (the child-catcher from BARBARELLA and Kala “despatch rocket Ajax” from FLASH GORDON) perform with total lack of vanity or concern for our sympathies, though it’s true they’re in a hell of their own: they hate each other far more than they do their tenants, but are compelled to cooperate if they want to get rich. And they really, really want to get rich. Also, he’s always pilfering food, and she has a thing for the clergy.

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One can perhaps detect Leone misogyny amid the misanthropy — a gratuitous sequence of a guy mauling a girl in the back of a car anticipates similar unpleasantness in ONCE UPON A TIME IN AMERICA but is thankfully briefer and less pornographic. There’s a gay character who is certainly stereotyped and winds up dead. But it is hard to completely separate the retrograde elements from the capitalism-corrupts-absolutely message, which comes over strongly and with dark wit. If the ending weren’t a startling anticlimax this would be at least a minor classic.

IL GATTO  stars Mark Hand; Kala; Simon Charrier; Serafina Vitali; Col. Mathieu; Manu Borelli; and Cpl. Wallace.