6.7 | / 10 |
Users | 0.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
Gerardo, an aspiring actor, trying unsuccessfully to cross over from comedy to tragedy, is involved, due to his ability to mimic dialects of Italy, in a scam concocted by Lallo against a rich cloth-merchant.
Starring: Vittorio Gassman, Dorian Gray, Anna Maria Ferrero, Mario Carotenuto (I), Alberto BonucciForeign | 100% |
Comedy | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.35:1
Original aspect ratio: 2.35:1
Italian: LPCM 2.0 Mono (48kHz, 24-bit)
English
Blu-ray Disc
Single disc (1 BD)
Region B (A, C untested)
Movie | 4.0 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 3.0 | |
Overall | 4.0 |
Note: This film is available on Blu-ray as part of Radiance's Commedia all'italiana: Three Films by Dino Risi set.
Any film fan worth his or her salt would probably respond with a near instant "Neorealism!" if asked to name a post-World War II genre in Italian
cinema. What came next is the focus of a really appealing three film set from Radiance, which further serves as a trio of examples of the
wide ranging if kind of weirdly lesser remembered work of Dino Risi. Supplements on the three discs in this set offer a primer of sorts for those
unacquainted with either/both neorealismo rosa (i.e., "Pink Neorealism") or/and commedia all'italiana (i.e., "Italian style
comedy"),
and provide some really interesting context of what Italy was going through both overtly and perhaps on a subliminal level as it dug itself out from
the
horrors of Fascism and the devastating effects of a global conflict where it initially at least played a central part in hostilities. The "transition" from
neorealismo rosa to commedia all'italiana was perhaps not "cut and dried", and so the three Risi films may at various times
reflect
different aspects of both of these perceived genres, but all three stories offer some trenchant observations about Italian culture and its basic
socioeconomic framework in the late fifties to early sixties, and two of the three films offer showcases for Vittorio Gassman, who was, as one
supplement included in this set gets into, suddenly an "overnight sensation" as a frequently buffoonish comedy performer after having earned
plaudits
for much
more serious stage and film work, including celebrated performances in plays by Shakespeare.
Il Mattatore is presented on Blu-ray courtesy of Radiance Films with an AVC encoded 1080p transfer in 2.25. While Radiance's packaging doesn't offer much technical information, the presentation starts with the following text cards (in Italian, translated in the subtitles as follows):
This digital restoration was performed in 2016 by Luce Cinecitta based on the original 35mm film and soundtrack negatives and on restored duplicates for certain scenes.Radiance's insert booklet further specifies that this was a 2K scan. This is another really winning looking presentation, with consistently strong fine detail throughout on any number of elements like fabric textures or even patterns on things like outfits. The bulk of the film is in black and white, with secure contrast and some really nicely modulated gray scale. For no real discernable reason, things transition to color for just the last few seconds, and those moments look commendably robust, if perhaps skewed just a tad toward yellow, making reds appear a bit on the orange side. There is occasional minimal damage and/or signs of age related wear and tear, including things like hair in the gate toward the bottom of the frame, and some noticeable print through and scratching. Grain resolves naturally, spiking expectedly in opticals like dissolves.
Il Mattatore features an LPCM 2.0 Mono track in the original Italian. As with all three soundtracks in the Risi set, you can definitely hear the limitations of the recording technologies of the day, with a somewhat boxy sound, but with good fluidity and no real problems other than an occasionally pretty bright and strident sounding high end, something that's probably most noticeable in musical moments, though Pippa Barzizza's jaunty theme, which comes off like the musical love child of Nino Rota and Bert Kaempfert, sounds great. Dialogue is rendered cleanly and clearly throughout. Optional English subtitles are available.
Il Mattatore offers Gassman a veritable grab bag of (ostensibly) "different" characters, and if some of the bits land more effectively than others, the film has a really breezily winning quality throughout. The ending in particular offers a one two (three?) "punch" of reveals that is admirably enjoyable. Technical merits are generally solid, and the supplements very enjoyable. Recommended.
(Still not reliable for this title)
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