Camillo Mastrocinque - Siamo uomini o caporali (1955)

Italiano/Italian | Subs: Castellano/English/Italiano .srt
92 min | XviD 576x432 | 1576 kb/s | 128 kb/s AC3 | 25 fps
1.17 GB + 3% recuperación/recovery

COMEDIA/ Totò Esposito es un actor, pícaro y desastre por igual, que distingue a la humanidad en dos: los hombres, y los caporali; estos últimos, aquellos que explotan y oprimen, que maltratan y humillan, desde una posición de poder, a menudo no merecida. Así, recuerda a los caporali con los que se ha cruzado en su vida, todos interpretados por Paolo Stoppa. (FILMAFFINITY)
A short, farcical history of wartime and postwar Italy, "Are We Men or Corporals?" presents Totò as everyman—a stupid but sly movie extra who stumbles onto the stage of world events (actually the set of an elaborate Roman Empire peplum). He ruins one take and then another, throws a tantrum, and winds up in a mental hospital recounting his story to a sympathetic doctor—his start as a professional jumper of ration lines, his stint in a German prison camp, his career entertaining American soldiers as part of an elaborate striptease act.


Totò was the most popular film personality in the history of Italian cinema—as well as one of the most naturally funny individuals to ever mug before the movie camera.
A product of Naples's impoverished nobility (his inherited titles included Prince of Byzantium, Duke of Cyprus, and Noble Knight of the Holy Roman Empire), Totò broke into show business in the early 1920s, around the same time Benito Mussolini marched on Rome. Between 1937 and his death, Totò made nearly 100 pictures—some years starring in as many as six. Most incorporate his name in the title — Totò le Moko, Totò of Arabia, Whatever Happened to Baby Totò? — and all apparently were hits, sustaining his posthumous career through the present day.

This little guy with the sad-faced Pulchinella profile is an irresistible physical comedian—running from danger in an absurd flailing waddle, devouring a meal with unconcealed gusto, raising the semaphore of his eyebrows in counterpoint to the fantastic sign-system of his gestures.
Totò was heir to American silent comedy as well as Italian commedia dell'arte and the Neapolitan varietá. His first feature, the 1937 Hands Off Me!, begins with a prolonged, wordless sequence in which he is woken up by a jerry-built alarm system.
(Saving time to waste it, Totò sleeps in his clothes—including bowler hat—and showers with his shoes on.) The scene evokes both Keaton's ingenuity and Chaplin's pathos. Totò's persona, particularly as represented in his still-popular fumétto, can be Chaplinesque as well—in Hands Off Me!, he plays a fastidious scrounger who, in the course of his scurrilous adventures, adopts fascist Italy's resident Shirley Temple clone.

The film historian Adriano Aprà has described the Totò character's key motivations as hunger and "irreverence toward authority". For the most part, Totò is an anarchic presence who, intentionally or (more often) not, serves to upset basic social conventions.

A living legend for much of his career, Totò was largely ignored by Italian critics and cineastes. Roberto Rossellini created the unsuccessful Where Is Freedom? (1952) around Totò's little-man persona; six years later, Mario Monicelli gave Totò a cameo in his comedy Big Deal on Madonna Street. (The Rossellini film isn't included in the Walter Reade retro; the Monicelli, in which Totò, a paroled felon absurdly dressed in an ascot and striped smoking robe, delivers a pedantic lecture on safecracking, is—and, as the definitive Rififi parody, is a must-see.).
Monicelli also cast Totò in The Passionate Thief (1960), alongside the volcanic diva Anna Magnani—with whom Totò had appeared many times onstage—and the young Ben Gazzara. It's a long night of drama and coincidence in which Totò, who plays a penniless old theater director, is too pathetic and too much a third wheel for my taste—despite a classic bit of business in which he greedily stuffs his face at a swank New Year's Eve party.
The movie that established Totò's reputation outside Italy was Pier Paolo Pasolini's Hawks and Sparrows (1966). The most playfully "new wave" of Pasolini films, this on-the-road allegory predates both Godard's Weekend and Buñuel's Milky Way while fulfilling an earlier cinematic dream. In the 1920s, the painter Fernand Léger wrote a scenario for a Chaplin marionette; in Hawks and Sparrows, Pasolini got to employ Chaplin's equivalent, the flesh-and-blood Totò, with Ninetto Davoli as his idiot son. Pasolini called Totò and Ninetto, a far less substantial sidekick than Peppino or Aldo Fabrizi, "two typical heroes of neo-realism . . . living out their lives without thinking about it." The setup suggests a parody of The Bicycle Thief (even as it echoes the situation of Chaplin's The Kid), except that Pasolini has added a talking Marxist crow who, in the film's best joke, becomes Totò's dinner.
Hawks and Sparrows won Totò a special award at Cannes, but Italian audiences were disappointed. According to Pasolini, "They went to see Totò and have their usual laugh, which they gradually realized they would not be able to do." Hawks and Sparrows is not without its qualities, but after gorging on a score of Totò's other vehicles, I think I know how his Italian fans felt.

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