While we wait with trepidation for news of the publicaton of Fenomenologia del cinepanettone, currently postponed until february by a nervous publisher, an essential article which appeared yesterday in il manifesto (thanks as ever to Luca Peretti for spotting it) on the absurd ‘post-Aristarchian’ and ‘post-Fofian’ critical culture in Italy.
More comedy models and motifs in the cinepanettone
Following on from the previous post in which I pointed out possible sources for the banterous ‘buddy’ relationships in Natale in Sud Africa (2010), and an earlier entry in which I pointed out the echoes in a Neri Parenti film of a satirical motif from the commedia all’italiana, I want to post here a few clips and photos to illustrate further comedy models for the cinepanettoni.
Director Neri Parenti’s fondness for silent comedy (he has made a pair of films with Paolo Villaggio and Renato Pozzetto entitled Le comiche (1990, 1991) - the title also once given to programmes of silent comedy on Italian TV), slapstick and violent cartoons is well known. These first few clips illustrate something of this taste.
Ignore for now - if you can - the race and gender issues in the following clip from Parenti’s Natale a Rio (2008) and concentrate instead on the cartoon inflation of the dead cat. Christian De Sica told me that he and Ghini (the two actors in the clip) were annoyed at how unpersuasive the fake cat was (and the digital rendition is clumsy too) but it seems to me that this absence of realism allows the viewer to collaborate in the joke.
Massimo Boldi on the development of his comedy
This is a sound clip from my phone interview with Boldi on 20 December 2010, discussed in the next post. Boldi talks about having to establish himself quickly in brief early appearances on film. He insists on the originality of his comedy despite the association with the various other comics he mentions, and says something about his cross-generational appeal - a theme in his public pronouncements about his work and persona.