Abstract
Sacred monsters: this is how most of the Italian media and public call actors Gassman, Mastroianni, Tognazzi, Manfredi, Sordi, to mark their legendary status in the Italian history of cinema. Comedy in particular is strongly associated with, and often defined by, the presence of these immensely popular male stars. However, this same period of time, this unique genre, has often relegated female figures to fixed stereotypes (the young maiden, the older woman, the mature one). How can we investigate such a complex phenomenon as the Commedia all’Italiana from a gender point of view? For example, by observing the different representations of time and of the aging process in the bodies of actors, actresses and characters (with particular attention to the works of Antonio Pietrangeli). In this way perhaps we will find another kind of “monstrosity”: female otherness, constantly looking for its (uncomfortable) position within movies that are unapologetic representations of the male gaze.
Highlights
Sacred monsters: this is how most of the Italian media and public call actors Gassman, Mastroianni, Tognazzi, Manfredi, storia del dottor Paolo Anselmi (Sordi), to mark their legendary status in the Italian history of cinema
How can we investigate such a complex phenomenon as the Commedia all’Italiana from a gender point of view? For example, by observing the different representations of time and of the aging process in the bodies of actors, actresses and characters
Nella commedia all’italiana al femminile, infatti, sembra risolversi più che altrove una dualità parallela in cui generi del discorso e discorso di genere si incrociano
Summary
Ci sembra una proposta storiografica valida che utilizzeremo anche in questo saggio concentrandoci soprattutto sull’ âge d’or del genere: il periodo fra la fine degli anni Cinquanta e il primo quinquennio degli anni Sessanta quando, di fatto, si costruisce una sorta di modello della commedia all’italiana e si affermano definitivamente i registi e gli attori “mostruosi” di cui abbiamo parlato prima. Qui si concentrano il maggior numero di occorrenze dell’ipotetico modello, classici tendenzialmente indicati come “testi esemplari” del genere: I soliti ignoti, già citato, La Grande guerra (1959) e I compagni (1963) di Monicelli, Il vedovo (1959), Una vita difficile (1961) e Il sorpasso (1962) di Risi, Divorzio all’italiana (1961) e Sedotta e abbandonata (1964) di Germi e i principali film di Pietrangeli, di cui ci occuperemo più avanti.
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