7.2 | / 10 |
Users | 0.0 | |
Reviewer | 3.5 | |
Overall | 3.5 |
Alberto Nardi is a Roman businessman who fancies himself a man of great capabilities, but whose factory (producing lifts and elevators) teeters perennially on the brink of catastrophe. Alberto is married to a rich and successful businesswoman from Milan, Elvira Almiraghi who has a no-nonsense attitude and barely tolerates the attempts of her husband to keep his factory afloat with her money.
Starring: Alberto Sordi, Franca Valeri, Livio Lorenzon, Nando Bruno, Ruggero MarchiForeign | 100% |
Comedy | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.70:1
Original aspect ratio: 1.66:1
Italian: LPCM 2.0 Mono (48kHz, 24-bit)
English
Blu-ray Disc
Single disc (1 BD)
Region B (A, C untested)
Movie | 3.5 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 2.5 | |
Overall | 3.5 |
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 Vedovo is presented on Blu-ray courtesy of Radiance Films with an AVC encoded 1080p transfer in 1.70:1. This is the one film in Radiance's Risi set that does not include prefatory text cards offering information on restorations, though Radiance's insert booklet states this "was scanned in 2K from fine grain lavender print and restored by Studio Cine, Rome". One way or the other, this is a great looking transfer that may not quite reach the lustrous heights of Il Sorpasso, but which in its own way offers the same general excellence that Il Mattatore does, and arguably without some of the admittedly minor passing deficits of that presentation. Contrast is solid, and gray scale nicely modulated, with detail levels offered with consistent precision throughout. Kind of interestingly, while all three films don't shy away from dissolves (and even some other techniques like wipes), this film along with its siblings in this set has a number of extended takes, where even with people moving to and fro in the frame, fine detail on things like costume fabrics remain secure. Grain resolves naturally throughout.
Il Vedovo features an LPCM 2.0 Mono track in the original Italian. Kind of interestingly, the film begins with no music and instead the first sounds emanating are footsteps, an effect that is kind of comically loud and one which is actually repeated later in the film. The entire track is pretty boxy sounding, something it shares with the two other soundtracks in this set, but this film is arguably the most obviously post looped, as was of course the custom in Italian films, meaning that synch isn't merely "loose", as they say, it's almost hilariously slack at times. That said, all dialogue (however and/or whenever recorded) is presented cleanly and clearly throughout. Optional English subtitles are available.
Il Vedovo may frankly not pass muster with contemporary "PC police" types (something it shares with Il Sorpasso in particular), but it's darkly effective, if never quite as "dangerously" comic as it seems to think it is. Sordi is really incredibly memorable as a rather repugnant character. Technical merits are generally solid, and the supplements very enjoyable. Recommended.
(Still not reliable for this title)
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