honest - Mastrocinque Camillo (1956)
Wednesday, March 16, 2011
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TITLE The band degli Onesti
SUBTITLES DURATION 101 min . Camillo Agenore Incrocci, Furio Scarpelli
Totò, Peppino De Filippo, Giacomo Furia, Anita Ciarli, Gabriele Tinti, Giulia Rubini, Nando Bruno, Memmo Carotenuto, Mariangela Giordano, Luigi Pavese
PRODUCER
DDL
DDL
GENDER
Comedy SYNOPSIS 
Antonio Buonocore (Totò) gets into the lucrative but dangerous black money business. Installed in his house a machine for making counterfeit notes in the hope of escaping the mediocrity of his life. (PRO)
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A tightrope walker body, even by Fakir, sometimes disheartened, cadaverous, and at times flooded with angry, agile, steering wheel, inertia and motion, rocks and wind, at the same time. The independent art, free, dissociated, an arm or a leg of Toto is an individual in the individual, an actor nell'attore. The neck segment, a telescope. And (Muse Neapolitan help me) without a face relationships, indefinable, abstruse, a chimerical world in front of eyes nose mouth cheek-bones, unusual, funny and terrible, which freezes and charms, which stimulates rice and, simultaneously, I do not know that human solidarity and participation.
makes me laugh and sigh jaw shifting of Toto. He, as if he had listened to his surreal connotations (emancipation from every coherence), As if he had thrown in the real contrast, in the melancholy events of each day, it was a well of fine cinematic joy. But, I must repeat, Toto has intelligence of itself, does not live with Toto. It was never tried or guessed, never, has transferred to the screen for twenty years, the variety of Toto. Friend or foe of his art is the unique Toto? Giuseppe Marotta, "L'Europeo, Milan, 7 April 1956.
With "Band of honest" Toto plays one of the most pleasing and realistic roles of his career, poor man, simple and honest, a victim of the offense to those temptations, which characterized the Italian company in the middle 50s. Mastrocinque addresses the issue in light tone, with satire and farce, but always provoking a debate that becomes even deeper by showing that anyone, even the most honest, is immune from the temptation to get rich illegally. The story, conceived and written by Age and Scarpelli proven pair, is well told and supported by an extraordinary Peppino De Filippo and Giacomo Furia height of the two giants.
The character of the poor goalkeeper Antonio Bonocore (attention to the name!) Is complete in its psychological structure and contradictions in his humble, always dominated, at bottom, a high moral conscience, which will bring the end of the film, with a found extraordinarily allusion, the general euphoria, to burn even the genuine notes of his salary. Bonocore is a generous man in his vocation and naive honesty, as evidenced by the scene with his accountant Casoria (Luigi Pavese) in the basement of the building and with the dying Mr. Andrea (Lauro Gazzolo), but also ready and willing to always dream of a future Best, whose contours are blurred and confused ("we must adapt," we must move from the accountant Casoria "," switch sides "). goalkeeper Bonocore, especially in duets with Peppino De Filippo, tends to lapse into caricature and easy to measure its effect, as for example, the persistent and exaggerated confusion on the name of The Turkish. These traits of pure and ancient comedy sometimes turn into a clown Totò Augustus, but not detract from the firmness of character, who just wants to have those traits clownish. 's character epitomizes the "type" of goalkeeper of the 50s, which is a counterpoint to the emerging and rampant Memmo Carotenuto, a representative of that society dawning, busybody and business (as well as the accountant Casoria), parasitic and perishable, destined to many other glories and triumphs over the years. We find ourselves in a true story, believable, even if amplified and transformed by the contributions satirical, burlesque and farcical, with its cellars, its terraces, porches, patios, and above all things, then the characteristic "sentry", which we feel even the smells. The gaze of all, directors and actors, is light and good-natured and the story is enjoyable. In designing the fable of the three poor fellows who plan an enterprise greater than themselves, Age and Scarpelli vaguely anticipate the core fund of "The unknown", which will come out after two years. Mastrocinque penetrates deep into the spirit of the story and Totò, Peppino De Filippo together, can interpret it as serene and never overdo it, though it was practically impossible to give up (and why then?) To the hilarious performances of the clown greatest comedy duo of Italian cinema.
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