When I watch German films that cover World War II, it seems they take a victim perspective. They often depict the brutal Russian "liberation" or bring light to the many brave people who stood up to the Third Reich. But they are generally very somber. In contrast, I have seen a few Italian films from the period that paint the period within the context of humor. Somehow, the Italians are successful in that seemingly counter-intuitive method. Such is the case with Seven Beauties.
Pasqualino (Giancarlo Giannini) has a way with women. Although not necessarily attractive, he swaggers around Naples like a peacock. He drives the women crazy. Pasqualino has seven sisters and a mother and it is his duty to maintain his family honor. When the local pimp, Totonno (Mario Conti) turns Pasqualino's sister out, it falls on his shoulders to restore the family honor. Pasqualino discovers that Totonno's pimp hand is strong, and is slapped to the floor during their confrontation. Pasqualino later slips into Totonno's window and murders him.
Pasqualino's ridiculous attempt to cover the crime backfires and the only way to save his skin is an insanity defense. Pasqualino begins to learn about survival with his decision to plead insanity and during his subsequent electric shock treatment. When Italy goes to war, he volunteers to serve, faking an injury to return home. His trip home is interrupted and he finds himself in a concentration camp, where his ability to survive is tested yet again.
Director Lina Wertmuller became the first woman director nominated for Best Director for this film, which she also wrote. Wertmuller took an interesting approach to the subject matter, creating interesting characters with cartoon-like traits. The exaggeration served the story well, creating an awkward balance between comedy and drama that somehow worked. The addition of an eclectic soundtrack added to the surreal qualities of the film. The movie begins with stock war footage set to an odd song, that may have been titled "oh, yeah." Quirky characters, an odd story and a bizarre quality all worked together to create a disturbingly enjoyable comedy drama.
This film was created in 1975, so the cinematic quality lacks the polish of more modern films. However, the sets and special effects worked efficiently. The only complaint I might have had was with the portrayal of prison camp life. It is a touchy subject to set comedic elements in that environment, and although it worked, it seemed prickly at times.
Giannini was exceptional in his extensive role as the not-so-intelligent, not-so-good-looking Cassanova. His facial expressions were not nearly as animated as, say, Jerry Lewis. But he told much of the story with his eyes. His facial expressions often supplanted the dialogue, and he delivered it effectively. Elena Fiore, as his sister Concettina, was a bit hammy, but still handled her own. Piero Di Iorio was cast as Pasqualino's friend Francesco. Although Di Iorio did not have a lot of lines, his performance was strong. Seven Beauties was well cast, adding to my overall enjoyment of the film. The R Rated movie has a one hour, 56 minute run time. It was nominated, but did not win, Best Foreign Language Film in 1977.
Seven Beauties does not neatly fit into a simple category. It is a comedy, but there are deeper themes and a macabre undercurrent. It is an art form that the Italians (at least Benigni) have mastered. Wertmuller pulls together an excellent cast and soundtrack in support of her bizarre story. The surreal elements created the caricature necessary to allow the comedic quality to shine. However, the deeper message is not lost in the process. Wertmuller keeps the film dark enough to maintain a somber undercurrent. It was an excellent accomplishment for which Wertmuller deserved her Oscar nomination. 8/10.
Trailer and photos property of Meduza Distribuzione.
