The winner of the 1971 Oscar for Best Foreign Language Film, Vittorio De Sica’s The Garden of the Finzi-Continis tells an aching story of doomed love within a wealthy Jewish community in Fascist Italy. The 1938 racial laws, enforcing the segregation of Italian Jews, have just been introduced, but the titular family’s titular garden offers insulation from the rising tide of fascism – for a while.
Mike finds the film’s love triangle somewhat banal, but is impressed with the subtly observed way in which the central characters allow themselves to remain comfortably ignorant of the increasingly hostile and dangerous Italy beyond their walls; comparisons to frogs in saucepans abound, not to mention the present-day normalisation of absurd corruption and violence in the Greatest Country in the World™. José is more keen on the romance, but still, the film’s sociopolitical side remains our focus. We consider the film’s use of physical space, the ways in which the Jewish characters can navigate it without being suspected by the racist public, but find themselves eager to retreat to safety as the film develops. We note that The Garden of the Finzi-Continis was made 25 years after the end of the Second World War, but 50 years prior to today: it’s now conspicuously an historical artefact that speaks to the time in which it was made, and whose proximity to the horrors it dramatises is necessary to keep in mind. And Mike reflects on his relationship with his Jewishness in this day and age, and how the film demonstrates that whatever divisions we may find among ourselves, to those who hate us, there’s no distinction.
It’s also Bonfire Night – well, the day after, but it’s a Friday evening so the festivities continue – and we celebrate by closing the window and trying to ignore the fireworks going off outside.
Federico Fellini invites us to hang out with a group of unemployed, lazy twentysomethings in 1953’s I vitelloni, one of his earliest films and an interesting portrait of life in a sleepy Italian town. For José, comparisons to his youth in a sleepy Spanish town abound; Mike finds links to British films that evoke similar feelings. I vitelloni is both culturally specific and universally relatable – every society has some version of the gang one grows up with, and the middle-class youngsters who think they rule the place.
We consider the motif of homosexuality – evoked in different ways by different characters, sometimes explicitly and sometimes only if we want to see it, but present throughout – and the theme of patriarchy, considering particularly the roles of women in the film, be they wives, mothers, or playthings, and ask what their agency is, if any – do they even believe they have any? Life in I vitelloni‘s seaside town is unconducive to personal progress, development, opportunity, and freedom, but where another story would express the frustrations felt by the constricted youth, here they harbour few ambitions.
I vitelloni is evocative and timeless – as coherent and understandable today as it was seventy years ago.
We try out Mubi, a curated streaming service that gives you 30 films at any one time, and only 30 days in which to watch them. Our choice is Investigation of a Citizen Above Suspicion, a 1970s Italian satire on police corruption and the politics of power. It leads to discussions on its expressive imagery, its topsy-turvy plot, sexual kinks, peccadillos, and lifestyles, the performance of power and authority, and male jealousy and rage.
The podcast can be listened to in the player above or on iTunes.