Masculinity, Stardom, and Italian Cinema 1. the Actresses Listed Were Margherita Buy, Claudia Gerini, and Cristiana Capotondi

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Notes

Introduction Trouble Men: Masculinity, Stardom, and Italian Cinema 1. The actresses listed were Margherita Buy, Claudia Gerini, and Cristiana Capotondi. Capotondi was bracketed with regular costar Fabio De Luigi in eighth place. Buy ranked nineteenth and Gerini twenty-third. The top male stars were mostly comics (including Alessandro Siani, Claudio Bisio, Christian De Sica, Checco Zalone, Carlo Verdone, and Antonio Albanese). See Ciak, September 9, 2013. 2. The majority of this criticism has been Anglophone, though see Grignaffini (1988). On Loren, see Gundle (1995a) and Small (2009); on Lollobrigida, see Buckley (2000). Gundle (2007: xix) mentions that male beauty could also be discussed, and cites Malossi’s volume on the figure of the Latin Lover. However, it is interesting that La Cecla in that book admits that “it is difficult to take the Latin Lover seriously” (1996: 26), and he is interpreted as a figure of slightly pathetic comic value, rather than as a symbol of the nation. All trans- lations from Italian are my own, unless otherwise stated. 3. See the cover images for Bondanella (2014), Bertellini (2004), Brunetta (2009), Wood (2005), Sorlin (1996), Brizio-Skov (2011), and Nowell-Smith (1996). 4. De Biasio identifies this as a compensatory move on the part of feminism: “The omnipresence and presumed ‘universality’ of men in history, in the arts, in science, in public life, has led to the focusing on women’s identity, lobbying for the rights that were still denied them [ . . . ] and valorizing their achievements and their contributions to the collective” (2010: 12). 5. Jedlowski says: “While we have an abundant literature on the different manifestations and transformations of female identity, reflections on masculinity are, till now, few and far between in Italy” (2009: 11). Benadusi, in his analysis of the male body in Italian culture, notes the absence of work on masculinity, “an object of investigation that is almost completely ignored, partly because of the late arrival of men’s studies” (2009: 31); Camoletto and Bertone say that Italian male heterosexuality “has remained virtu- ally unexplored, both because of the late development of men’s studies in Italy and the persistence of a naturalized conception of 168 Notes

male sexuality” (2010: 235); De Biasio talks of the “low visibility” (2010: 29) of gender studies in Italy and argues that those engag- ing in discussions of Italian masculinity must “take account of a debate that is not only recently opened, but that [ . . . ] has very little structure” (32). Bellassai and Malatesta complained of “a total lack of interest in masculinity” (2000: ii–iii) while Vaudagna’s overview of men’s studies in the same volume focused entirely on the Anglo- American academy, before lamenting the lack of ‘self-reflexive men’ (2000: 48) who might bring their experiences to bear on the Italian academy in the same way. See also Pescarolo and Vezzosi (2003) and Piccone Stella (2000). 6. For example, Marcello, “the intellectual,” discusses both the “crisis of the cock” (Lombardo Radice 1977: 58) and the “male crisis as painful contradiction” (66). 7. See also the letters included in the collection Care compagne, cari compagni: lettere a Lotta Continua/Dear Comrades: Letters to Lotta Continua (1978) in which activists testify anxiously to the impact on left-wing masculinity of feminism. The work of Sandro Bellassai has been particularly important in developing the field since the late 1990s, although an important precursor to the post-2000 debates was the 1989 issue of the feminist journal Memoria (vol. 27), devoted to “Uomini” (Men). 8. See Kimmel (2013) on the “boy crisis.” Susan Faludi’s 1999 Stiffed: the Betrayal of the American Man was an important precursor to the American crisis debates. 9. See Wanrooij (2005). Solomon-Godeau agrees that there is no “utopic or normative masculinity outside crisis” (1995: 70). 10. Edwards (2006: 4). Edwards also quotes Connell, who argues that masculinity is a “configuration of practice within a system of gender relations” and cannot therefore be considered to be in crisis, as it is not itself a coherent system. Connell suggests that “we can logically speak of the crisis of the gender order as a whole, and of its tendencies towards crisis” (Connell, quoted in Edwards 2006: 17). 11. Belpoliti refers to Berlusconi as a “transvestite” (2009: 71, 160) and a “transsexual” (68). See also Merlo (2004): “For Berlusconi trasform- ismo [political opportunism] has become transvestitism.” 12. Bernini claims here to be quoting Italian feminist journalist Ida Dominijanni, but gives no reference. 13. Parotto argues that Berlusconi displays his “weakness, just like his feminine aspects,” and gives as examples of this his “self-care,” his “softness,” his wearing of a bandana, and even his love of gardening (2007: 85). 14. “Berlusconismo is both cause and effect of that catastrophe of virility of which Italian fascism was the precursor” (emphasis in original). 15. Solomon-Godeau makes this point in relation to “feminized” masculinity: “Imagery of masculine impotence and debility appears not to Notes 169

contradict an official language of gender that condemns if not excori- ates effeminacy and is further concerned to secure rigid distinctions in gender” (1997: 11). 16. See Foucault (1988) and Harvey and Gill (2011). I am drawing on Hipkins (2013) here. 17. In Kirkham and Thumin’s words, “Patriarchal language locates the feminine beyond the boundaries of the masculine. The feminine is all that which the masculine is not” (1993: 15). 18. On “technologies of emotion,” see Swan (2008: 89); on the “feminization of labor” in the Italian context see Luciano and Scarparo (2012) and Morini (2007). 19. “It is through the performance of crisis that white masculinity both expresses its disempowerment and works towards a new conceptual- ization of power” (Robinson 2000: 93). See also Traister on masculine crisis as so ubiquitous that it becomes “normative and exculpatory” (quoted in Kegan Gardiner 2002: 10). 20. Walsh takes slight issue with Robinson, arguing that she fails to acknowledge those masculinities that are made peripheral by patriarchy because of their failure to conform to hegemonic norms of masculinity (2010: 8). 21. See Holdaway’s work on crisis in Italian film history, in which he draws upon Koselleck’s framing of crisis in terms of three semantic models: these are continual crisis, crisis as apocalypse, and, most useful for my argument, crisis as accelerating process in which conflict bursts in upon a system, and “following the crisis the system reconstitutes itself in a new set of circumstances” (quoted in Holdaway 2012: 268). 22. Likewise, Reeser asks, “What does masculinity look like when we do not assume that masculinity and men are directly related? What hap- pens when masculinity is dissociated from the male body altogether and the possibility of female masculinity is considered?” (2010: 3). Halberstam picks up Sedgwick’s argument and critiques discussions of masculinity within cultural studies that seem “intent on insisting that masculinity remain the property of male bodies” (1998: 15). 23. A film such as Salvatores’ Quo vadis, baby? (2005), starring Angela Baraldi as a female detective who also boxes and has no interest in the conventional trappings of femininity, is quite unusual in the Italian mainstream. 24. See Greene (2012, especially 200–204) on the precarious whiteness of Italians as constructed in cultural representations; see also Giuliani and Lombardi-Diop (2013) for a more historical account of the same topic. 25. See, e.g., Duncan (2009) on migrant masculinities in recent Italian cinema. 26. This argument is similar to that of Halberstam, who noted that “masculinity becomes legible as masculinity where and when it leaves the white male middle-class body” (1998: 2). 170 Notes

27. See Gundle on Loren (1995a) and on postwar female stars (2002), and Buckley on Lollobrigida as “national body” (2000: 531). See Dell’Agnese (2007) on models of masculinity in postwar Italian cinema. See also Landy on Nazzari, Sordi, Totò, Mastroianni, and Gassman (2008: 132–58), as well as Wood (2004) on postwar masculinities. 28. See also Nakahara (2012) on male infantilism in 1970s Italian sex comedies. Comic stars like Alberto Sordi and Totò have had numerous biographical volumes and encyclopedia entries devoted to them, but little serious analysis. 29. De Bernardis also compares current stars to great past ones, calling Accorsi “the metaphorical end-point of the Mastroianni type” (2007: 32), and Luigi Lo Cascio the new Gian Maria Volonté. 30. In the same journal issue (a special issue of Segnocinema devoted to “The Politics of the Actor”) Pierini, however, praises actors such as Favino, Servillo, and Lo Cascio, representatives of a “strong natural- istic school” whilst castigating Accorsi and Giovanna Mezzogiorno as “very bad actors” (2007: 17). 31. See Krämer and Lovell (1999), De Cordova (1991), Taylor (2012), Wojcik (2004), and Cherchi Usai (2007: 13) on the critical neglect of acting. Fabrizio Deriu, in his book on Volonté, claims that “the work of the actor in film is elusive” (1997: 134). 32. Deriu claims that performance analysis has been hampered by the volume of sociological attention to stardom (1997: 134). 33. Raoul Bova has made several American films, including Under the Tuscan Sun (Wells, 2003) and AVP: Alien vs Predator (Anderson, 2004). Pierfrancesco Favino has worked in Hollywood films as diverse as Rush (Howard, 2013), World War Z (Forster, 2013), Angels and Demons (Howard, 2009), and Miracle at St. Anna (Lee, 2008). In addition, several Italian stars work regularly in France (Accorsi, Scamarcio, Monica Bellucci). 34. See Reich on Mastroianni as a “window” onto aspects of Italian social reality (and gender relations) (2004: 1) 35. This constitutive role is also highlighted by Peberdy (2011: 170). 36. Here of course I am referring to Judith Butler’s work on performativity, which has redefined the field of gender studies. Her formulation of gender performativity as a “reiterative and citational practice by which discourse produces the effects that it names” (1993: 2) both fundamentally challenges gender essentialism and also highlights the contingency and repetition of on-screen and “real-life” gender performance.

1 Mad About the Boy: Teen Stars and Serious Actors 1. Although Tre metri was not a huge box-office hit, Ho voglia di te took nearly €14m at the box office in Italy, and recorded the best-ever Notes 171

opening day for an Italian film at the time. Variety attributed the success to multiple viewings by girls: “Italo exhibbers report lots of starry- eyed girls going for consecutive viewings” (Anon. 2007a). 2. Brizzi and Martani also collaborated, with Brizzi directing and Martani cowriting, on two sequels to Notte prima degli esami, as well as on Ex (2009), Maschi contro femmine (Men against Women; 2010), and Femmine contro maschi (2011); they also cowrote many of the Christmas comedies (cinepanettoni) of the 2000s. 3. Spera discusses the “youth-oriented comedies” (2010: 40) but only to compare them unfavorably to the commedia all’italiana films of the 1950s and 1960s. 4. Scamarcio was first introduced to Italian audiences via the RAI soap opera Compagni di scuola (Classmates), which ran for one season in 2001; his costars included Cristiana Capotondi and his future costar in Ho voglia di te Laura Chiatti. 5. http://cinema.sky.it/cinema/news/2011/08/19/sky_cine_news _speciale_riccardo_scamarcio.html. 6. http://www.riccardoscamarcio.net/biografia.php. 7. Italian cinema’s valorization of male melancholy will be further inter- rogated in chapter 3. 8. This trope is also central to the novel Sognerò Riccardo Scamarcio (I’ll Dream of Riccardo Scamarcio) by Chicca Visconti (2007), in which the teenage protagonist is able to have romantic dreams about Scamarcio, an ability that increases her social standing at school. In the novel Scamarcio’s “incredibly green eyes” (6) are a key element of his beauty. An interesting cinematic precursor is Sposerò Simon le Bon (I’ll Marry Simon le Bon; Cotti, 1986). 9. In the novel there are no photographs, and Step reads her journal, which merely describes her thoughts about him. However, the tone of Gin’s invective against Babi is even harsher there: “I can’t believe it! They’re an item! Step, I hate you! [ . . . ] why the fuck did you get together with someone like her, Step! I swear that one day you’re going to have to explain yourself to me. Don’t you see that she’s a girl without balls?” (Moccia 2006: 398). Her diatribe mimics the language of fans convinced that they are the only person right for their star crush. 10. Danielle Hipkins has written of how Gin’s desire to be a photographer in the film and to “control the image” is contrasted by her work as a velina or showgirl, a job she is merely doing to make money to study photography: “one could argue that it is precisely because [Gin] photographs Step that she has to submit to the camera herself, in order to maintain her femininity” (Hipkins 2012: 190, n. 129). 11. Commenters (presumably male) call the girls “geese,” “shitty hens,” and “goslings,” as well as troiette, mignotelle, and zoccolette, all syn- onyms for “little whores”; http://www.youtube.com/watch?v=7 _ejYX3mu7k. The fact that the girls in the video are Sicilian also leads 172 Notes

to various statements that link their wildness to their Southernness. In comments appended to this and other videos Scamarcio’s looks and acting talent are also routinely denigrated in a violent fashion. 12. Aubrey, Walus, and Click argue that “disempowered groups” such as women and gay men “automatically devalue their idols’ cultural capi- tal” (2010: 231). 13. http://www.gay.tv/news/entertainment/10-motivi-per-amare-il -divo-italiano-meno-amato-dai-gay-riccardo-scamarcio/. 14. http://www.gay.tv/articolo/ferzan-ozpetek-trasforma-gli-etero-in -gay-il-caso-scamarcio-gallery-video/15055/. 15. http://www.gay.tv/news/entertainment/ferzan-ozpetek-trasforma- gli-etero-in-gay-il-caso-scamarcio-gallery—video/. In the only discussion of Scamarcio on the website www.gay.it posters call him “ugly” and “horrid”; http://www.gay.it/forum/viewtopic.php?f=168&t=2 3658&p=262488&hilit=scamarcio#p262488. Interestingly, the discussion is about his role as a gay man in Mine vaganti, and whether this has enabled him to shake off his teen idol reputation. On gaywave. it he is discussed excitedly as a sex symbol in one 2009 article http:// www.gaywave.it/articolo/riccardo-scamarcio-senza-mutande-il-video-tutto-per-voi/4899/ but an earlier piece chastised him for putting on weight and losing his “gay icon” status: http://www.gaywave.it /articolo/riccardo-scamarcio-icona-gay-per-chi/169/. 16. See Sheffield and Merlo on concern as a “rhetorical strategy” in discourse around the Twilight franchise and its fans, a strategy that allows critics and “anti-fans” to “make public their own dislike of Twilight under the guise of disapproving of the series on behalf of less enlight- ened readers” (2010: 215). 17. Battisti 2007. The fact that the premiere took place on International Women’s Day thus offered an easy commentary on the supposed degradation of public life in Italy, whereby, one presumes, rallies and debates on feminism have been replaced by girls screaming at a teen idol. This is reiterated in Il Giornale’s account of the premiere, which opens with “Here they are, the little women who, instead of a mimosa want a boy who is bono come er pane [tasty and with a heart of gold] in the words of Deborah from Portonaccio, who will be sixteen in June” (Anon. 2007b). Poor Deborah, from the Roman periphery, seems to be mocked for her dialectal speech as well as for her failure to carry a mimosa. 18. In similar fashion a fan video of Scamarcio uploaded to YouTube attracted the following comment, which neatly combines contempt and concern for the video’s maker: “You’re clearly a stupid adolescent girl in heat . . . just stop it, watch some bergman, watch bunuel, listen to ivan graziani [sic],” says “ienzy”; http://www.youtube.com /watch?v=BVVF5_FtEV4. 19. Galassi discusses the “cultural phenomena” that grew up around the Moccia books and films, mentioning as well as the lucchetti, the trend Notes 173

after Tre metri for young people to ape Step and write “Me and you three metres above the sky” on public walls (2009: 9–10). 20. Barbara Ehrenreich’s analysis of Beatlemania is apt here: she reads the act of screaming for groups of teenage girls as empowering, arguing that “to abandon control—to scream, faint, dash about in mobs—[is], in form if not in conscious intent, to protest against the sexual repres- siveness, the rigid double standard of female teen culture.” Cited in Aubrey et al. (2010: 235). 21. Moccia himself is seen as a dangerous figure for adolescents, with his novels supposedly encouraging consumerism and “conformist and conservative values and models of behaviour” (Rotondo 2008: 20). 22. http://www.motocorse.com/news/altro/6270_Una_Ghezzi -Brian_diventa_movie_star.php. 23. http://freeforumzone.leonardo.it/lofi/ghezzi-amp-brian-otto-la -moto-di-3-metri-sopra-al-cielo-/D226786.html. 24. http://freeforumzone.leonardo.it/lofi/Un-brivido-strano -GHEZZI-BRIAN-quot-FURIA-/D1007202.html. 25. http://www.motociclando.com/forum/printview.php?t=1600& start=0. 26. http://www.tuninglove.com/ghezzi_brian_furia_8.asp. On another site a poster is mocked for admitting that he saw the bike not in the film but in the music video by Tiziano Ferro used to promote HVDT. Ferro came out as gay in 2010 but even before that his status as popular singer with female and gay appeal marked him out as problematic for straight males to admit to liking. http://www.fazeritalia.it/fazer forum/archive/index.php?t-227606.html. 27. Poster “Amosoloquellenude” says “I wanted to leave!! And I only went to see the film because of that bike!!” http://freeforumzone. leonardo.it/lofi/film-HO-VOGLIA-DI-TE-la-moto-di-Step-c-39 –232-qualcosa-che-non-quadra/D244109.html. The thread, and others like it, then devolve into the usual mix of disavowal of the film and its audience and the swapping of technical expertise. 28. On Gin as a “can-do girl,” see Hipkins 2012. The inclusion of a scene in which Gin is shown training at a boxing gym and then challenging Step to a sparring match also positions her as a masculine female; however, the way the scene ends, with Step carry- ing her away over his shoulder and then asking her out plays into Halberstam’s analysis of cultural representations of boxing women in which “the exclusion of butch women signals a widespread cultural anxiety about the potential effects of femaleness and masculinity” (1998: 273). 29. Tres metros sobre el cielo (González Molina, 2010) and Tengo ganas de ti (González Molina, 2012) made Mario Casas, who plays the Step character, a national star and pin-up in Spain. 30. For Luchetti Scamarcio starred in Mio fratello è figlio unico (discussed in chapter 5), for Placido Romanzo criminale (2005) and Il grande 174 Notes

sogno (2009) (discussed in chapters 4 and 5, respectively), for Costa- Gavras he made Verso l’Eden (Eden à l’Ouest; 2009), and he starred in Özpetek’s Mine vaganti. However, it is misleading to suppose that there is a clear trajectory from lowbrow to highbrow in his career: before Tre metri he had appeared in Giordana’s La meglio gioventù (The Best of Youth; 2003), and in between his political films he made Manuale d’amore 2 and 3 (Veronesi, 2007 and 2011). 31. The film, a teen romance, was only rereleased due to the success of Ho voglia di te, and the article notes that Scamarcio refused to promote it: “he’s a bit ashamed of it.” 32. http://www.nonmidire.it/articolo/riccardo-scamarcio-ruolo-gay -per-mine-vaganti-di-ozpetek/5687/. 33. http://www.gay.it/forum/viewtopic.php?f=168&t=23658&p=262 488&hilit=scamarcio#p262488. 34. Accorsi appeared in Özpetek’s Le fate ignoranti (Ignorant Fairies) in 2001, while Gassman starred in Il bagno turco (Steam: The Turkish Bath; 1997), and Argentero and Favino played a gay couple in Saturno contro (Saturn in Opposition; 2007). Scamarcio’s costar in Mine vaganti is heterosexual sex symbol Alessandro Preziosi, who also plays a gay character. 35. http://www.gayprider.com/nicolas-vaporidis-riccardo-scamarcio -pierfrancesco-favino-bacio-ozpetek-film/. 36. In recent years Scamarcio has put on weight and has appeared in public often looking unkempt; it seems possible that this is part of a strategy of “actorly legitimization” (McDonald 2009) by which the stomach becomes a “somatic index” of the actor’s maturation to seriousness. It is a strategy that also appears to have been adopted by Leonardo DiCaprio, who has also noticeably bulked out in recent years. 37. L’uomo perfetto was coproduced by Warner Bros and the British company Aquarius Films, which accounts for its quite un-Italian feeling, noted by critics. 38. Earlier in the film we saw Antonio attempting reluctantly to work out, which we can presume goes against his seriousness as an actor. 39. See Susan Bordo’s work on Calvin Klein and its mainstreaming of a gay aesthetic (1999: 168–228); in the Italian context Alberio (2009) points to the importance of the homoerotic Dolce and Gabbana adver- tising campaigns (photographed by Mariano Vivanca) featuring the AC Milan football team (2004) and the Italian national team (2006) posing in their underwear. Fagiani has an interesting discussion of the metrosexual and feminization, in which she names Scamarcio as a metrosexual and stars Kim Rossi Stuart and Raoul Bova as “models of groomed masculinity” (2011: 89). 40. “By means of the posture of joking male eroticisation can be toler- ated” (MacKinnon 1999: 22). Notes 175

41. The idea that Lucia has manipulated this situation to her own career advantage also complicates matters, just as the advert fits in precisely with the Celluvia client’s demands at the beginning of the film: he rejected Lucia’s proposed campaign based on female models and asked for something “more transgressive, more against the flow,” so it is clear that the advert is working with, rather than challenging, established gender norms. 42. This ties in with MacKinnon’s work on the “secrecy” surrounding the gaze at the male (1997: 4) and Bordo (1999) on the male body as normally “hidden” because its revelation undermines the ideal of phallic masculinity. 43. Mainstream Italian cinema, it appears, cannot tolerate a high degree of male eroticization despite the fact that many of its stars display their bodies outside films: e.g., after appearing in Italy’s Big Brother, Luca Argentero posed nude for the 2004 issue of the popular MAX calendar, something that Raoul Bova had already done in 2000. However, diegetically this kind of bodily display is traditionally a problem. Scamarcio is naked for part of his film with Costa-Gavras, Verso l’Eden, but this is very much at the service of a plotline that has him as a displaced migrant, stripped of everything including clothes. 44. The instances when she does abandon this uniform are significant, however: first, when she puts on a bright red, low-cut top to seduce Paolo, and when she wears a strapless black dress on her date with Antonio. 45. “Since Scamarcio became all serious, making films with directors of the calibre of Costa-Gavras and trying hard to be gay in Özpetek’s Mine vaganti so as to get rid of the label of the dim hunk, Nicolas Vaporidis has become the new, unchallenged teen heartthrob” (Romani 2010). 46. Iago was directed by Wolfgang De Biasi, who had already directed Vaporidis in Come tu mi vuoi, and costarred Laura Chiatti. It was widely panned by Italian critics and not very successful at the box office. 47. See the interview with Vaporidis entitled “Turning Point for Vaporidis: no More Films for Teens” (Cappelli 2009), where he talks about producing and about leaving behind “films aimed at teenagers: it’s a genre that doesn’t belong to me any more.” 48. His novel Parlami d’amore was cowritten with Carla Vangelista and published in 2006. The book and film depict a relationship between a young man, played by Muccino in the film, and a much older woman. Muccino and the much older Carla Vangelista have been linked in real life, creating a parallel with the relationship between Scamarcio and actress Valeria Golino, who is thirteen years older than him. Scamarcio and Golino are also professional collaborators, with him producing her directorial debut Miele (Honey; 2013). 176 Notes

2 Comedy and Masculinity, Italian Style 1. “Comedy is modal, an inflection of a noun-object” (King 2002: 3). See also Ilaria De Pascalis, who draws on King’s work to call it a “modality” (2012: 13), as well as a “problematic and elusive object of investigation” (7). 2. Both Paolo Genovese, director of Immaturi, and Marco Martani, cowriter of Maschi contro femmine and Femmine contro maschi, among other films, have said that the Italian film industry produces episodic or choral films rather than boy-meets-girl rom-coms because of the absence of big national stars who will appeal to everyone. They thus confirm, from an industrial viewpoint, the importance of an array of different stars who will appeal to different sectors of the cinema-going public. Genovese made this comment in a Q+A session in Rome on June 5, 2013, while Martani’s comments were made at a roundtable on the cinepanettone and Italian comedy at RomaTre University, June 7, 2013. 3. Vito Zagarrio notes of comedy and melodrama in Italy that they are often inextricable, “as if the two national-popular genres were in some way forced to become entwined” (2012a: 54). 4. See the ANICA report “L’Export del Cinema Italiano 2006–2010 /The Export of Italian Cinema 2006–2010,” published in 2012, which notes the difficulty for Italian comedies of finding a market overseas, as opposed to auteur films. 5. http://www.anica.it/online/attachments/032_anica_doxa_2008. pdf. 6. http://daily.wired.it/news/cultura/2013/07/15/cinema-italiano -numeri-47893.html. See Canova (1999: 7–8) on the popularity of comedy in late 1990s—65 out of 93 top-grossing Italian films from 1998–99 were comedies. 7. See ANICA report 2013: http://www.anica.it/online/allegati /dati/Dati_Cinema_Anno%202012_produzione_distribuzione _tv_16042013.pdf. The one definitively noncomic film is Castellitto’s Venuto al mondo (Twice Born; 2012), while the lists feature several of the films analyzed here, including Posti in piedi in paradiso, Immaturi, Immaturi: il viaggio, Femmine contro maschi, Maschi contro femmine, Scusa ma ti voglio sposare, and Baciami ancora. 8. It is worth noting, however, that the “rigidity” of the Italian star system of which Gianni Canova complains (“always the same faces, the same stories, the same voices,” 1999: 29) means that actors work across a variety of genres and often slip fairly comfortably from comedy to drama to thriller, and this applies also to female stars. Here, for reasons of space, I am not looking at figures such as Checco Zalone or Antonio Albanese who are working with an established comic persona rather than as characters in a choral or episodic plot. Notes 177

9. De Pascalis (2012: 32). She relates this particularly to the male stars: “Both the physical appearance of the well-known actors and the characters they play seem to be marked by the same ‘averageness.’” 10. See O’Leary (2013). 11. See Fullwood (2012: 56–107). 12. Quoted in Ugolini (2012). See also Verdone’s upcoming film, Sotto una buona stella (Under a Good Star), in which a father is forced to live with his two sons due to the death of their mother and the economic crisis. 13. See La nostra vita (Daniele Luchetti, 2010), Le chiavi di casa (Gianni Amelio, 2004), Anche libero va bene (Kim Rossi Stuart, 2004), and Caos calmo (Aurelio Grimaldi, 2008). 14. To this end, the commentary to the DVD (Medusa, 2011) is interesting: Brizzi asserts the realism of this gender war, saying of the scenes where men and women row over soccer: “This is a classic scene that I’ve lived through dozens of times in my life.” Meanwhile the one female writer, Valeria Di Napoli, known as “Pulsatilla” (who was apparently employed to write “intelligent lines for the actresses”), is declared by Brizzi to bring to the table “an extremely female point of view.” Where this leaves female soccer fans is unclear. 15. See also the brief discussion in Liguori and Smargiasse (2000: 179–82) of soccer as a perennial weapon in the comic gender war in Italian cinema. They reference comedies such as Parigi è sempre Parigi (Paris Is Always Paris; Emmer, 1951), La domenica della buona gente (Good Folk’s Sunday; Majano, 1953), Il marito (The Husband; Loy and Puccini, 1958), and Io so che tu sai che io so (I Know That You Know That I Know; Sordi, 1982). 16. See Barbora Bobulová’s character in Immaturi, whose “maturation” involves putting her daughter first and learning how to bake cakes rather than deliver Powerpoint presentations; in the workplace comedy Ti presento un amico (Let Me Introduce My Friend; Carlo Vanzina, 2010), Bobulová is a driven career woman who is happy to give up her job once she decides she needs a child. See also Luciana Littizzetto as the urologist who deliberately humiliates male patients in Maschi contro femmine, and Angela Finocchiaro as the cardiologist who tricks her ill husband Claudio Bisio in Amore, bugie e calcetto. 17. Likewise in Maschi contro femmine the plotline by which a straight man (Nicolas Vaporidis) and a gay woman (Chiara Francini) compete for the affections of bisexual Federica (Sarah Felberbaum) is inter- rupted by a Gay Pride parade at which all the gay men are camp and shrieking. 18. In Solo un padre, Luca Argentero’s character, a cosmetic surgeon, harangues a female patient who is addicted to Botox and surgical procedures; in Maschi contro femmine the middle-aged Nicoletta (Carla Signoris) is humiliated by her cosmetic surgeon with a virtual 178 Notes

tour of her imperfections and a promise of costly “regeneration,” a regeneration she ultimately forgoes once she finds romantic love. 19. See also Modleski (1991: 88) on the same film: “It is possible, the film shows, for men to respond to the feminist demand for their increased participation in childbearing in such a way as to make women more marginal than ever.” 20. “Uomini Casalinghi” is a real Italian organization for househusbands and will be discussed further in the next chapter. 21. An interesting comic intertext is Jacques Demy’s L’événement le plus important depuis que l’homme a marché sur la lune (A Slightly Pregnant Man; 1973), starring Marcello Mastroianni as a man who becomes pregnant with a pregnancy that is ultimately diagnosed as hysterical or fantasmatic. 22. A recent film like Buongiorno papà (Out of the Blue; Leo, 2013), in which Raoul Bova plays a late thirty-something playboy who discovers that he has a seventeen-year-old daughter, illustrates again fatherhood as a necessary responsibility for men; again the mother is absent, having recently died, and the girl, played by Rosabell Laurenti Sellers, is ultimately incorporated into a homosocial fold constituted by Bova’s character, his “inept” best friend, and her grandfather, all of whom share a house. The film demonstrates some awareness of its own position in recent Italian output, when Bova’s character, a film product placement executive, comments on a new script, “another film about parents and children, so boring!” 23. The version is by Skye Edwards from 2008. 24. Morreale (2009: 233) discusses how Notte prima degli esami tried to address both contemporary thirty-somethings who remember the 1980s and current high schoolers, and also points out how Immaturi: il viaggio is a reprise of Che ne sarà di noi (Veronesi, 2004). He talks of a cinema of “big brothers” (232), which is not paternalistic but desires to see itself mirrored in the younger generation. 25. Renga is drawing on O’Leary (2011a) and his work on tainted heritage as a key mode for Italian cinema to revisit the 1970s and 1980s. 26. The men are played by director Leonardo Pieraccioni, Rocco Papaleo, Massimo Ceccherini, and Gianmarco Tognazzi. 27. The fact that the version of the song used here is the one recorded in 1983 by Boys Town Gang, a San Francisco-based disco/Hi-NRG group, strengthens the scene’s potential for camp. 28. In relation to Minelli, he notes that “the film itself somatises its own unaccommodated excess, which thus appears displaced or in the wrong place” (Nowell-Smith 1977: 117). 29. See Camoletto and Bertone (2012: 443) on the medicalization of male sexuality, which “displays the centrality of bodily control in the pleasure of doing masculinity.” 30. Showalter notes Freud’s 1886 paper “On Male Hysteria,” which was influenced by Charcot’s work with male hysterics in the 1880s. Notes 179

31. The concept of “affective labor” was developed by Michael Hardt and Toni Negri; in the Italian cultural context it has been usefully employed by Sandro Mezzadra (2005), who has drawn upon the work by Paolo Virno on postfordism to suggest a concept of labor in which “subjectivity itself—with its most intimate qualities: language, affects, desires, and so on—is ‘put to value’ in contemporary capitalism.” 32. Ahmed is played by Hassani Shapi, who also stars as an Egyptian in Lezioni di cioccolato, as an Indian in Oggi sposi (Just Married; Lucini, 2009), and a Pakistani in Massimo Venier’s comedy/romance Il giorno in più (The Extra Day; 2011). Shapi is a particularly interesting figure in the landscape of contemporary Italian film: in Nessuno mi può giudicare (Escort in Love; Bruno, 2011) he plays a Pakistani, who is mistaken for an Indian by the lead character. Shapi is actually Kenyan by birth and has worked extensively in UK television. 33. The use of Puglia as a comic marker of Italian backwardness juxtaposed with the educated and civilized nonwhite foreigner is interesting, as it also appears in Che bella giornata (What a Beautiful Day; Nunziante, 2011) and Oggi sposi. In Oggi sposi Shapi’s role is similar: he plays an Indian ambassador whose daughter is marrying Luca Argentero, and has comic conflicts with Argentero’s “uncivilized” Pugliese relatives. Che bella giornata is structured around a similar comic conflict between Pugliese Zalone and his Arab girlfriend. 34. Kamal, meanwhile, impersonates Italian masculinity, with a comic impression of singer Al Bano, singing along to a version of his song “Nostalgia canaglia.” This merely makes the power differential between the men clearer, as Kamal’s embarrassment at being found singing is juxtaposed with the violence Mattia experiences as him. 35. In a similar vein, see Claudio Bisio’s character in Amore bugie e calcetto attempting to stem the tide of globalization via the production of luxury Italian coffee machines. 36. This applies also to the unthreatening exoticism of the female objects of desire in Oggi sposi and Lezioni di cioccolato 2. It is telling, though, that Nadine still brings about the destruction of the Italian family, and, unlike the peripheral male migrants we have seen, she cannot be recuperated into a homosocial peer group.

3 Boys Don’t Cry: Weeping Fathers, Absent Mothers, and Male Melodrama 1. Anche libero va bene was presented at the Quinzaine des Réalisateurs at Cannes in 2006, and Kim Rossi Stuart was nominated for and won several best actor and best director awards at international festivals for it; Le chiavi di casa won awards for Gianni Amelio and Rossi Stuart at the Venice Film Festival in 2005, while Andrea Rossi, who plays the son in the film, was nominated for best performance at the Young 180 Notes

Artist Awards in 2005. Caos calmo was nominated for the Berlin Golden Bear, along with many awards in Italy. 2. Staiger follows Steve Neale in recuperating the original Hollywood industry usage of melodrama to designate “war films, adventure films, horror films, and thrillers, genres traditionally thought of as, if any- thing, male” (Neale, quoted in Staiger 2007: 73). Tania Modleski echoes Staiger on the gendering of genres: “Pathos and sentiment often lurk in those masculine genre films where they might appear to be utterly absent—such pathos is merely denied” (2009: 137–38). Van Fuqua (1996) makes a similar argument. 3. Williams includes Ordinary People (Redford, 1980) in this category as well as other “paternal weepies” such as Dad (Goldberg, 1989) and the TV series Twin Peaks (Lynch and Frost, 1990–91). Tania Modleski (2009) has employed the term “male melodrama” or “male weepie” in relation to films of Clint Eastwood such as Million Dollar Baby and Gran Torino. See the interesting discussion by Bauman (2012) on L’uomo che ama (The Man Who Loves; Tognazzi, 2008) as a “male weepie” and the protagonist (Pierfrancesco Favino) as an inetto. 4. See Leonardo (2013) and Hope (2010: 19). Zagarrio (2012b: 98) also praises Anche libero va bene for its “direct inheritance from I bambini ci guardano.” Variety also considers the film in relation to De Sica’s 1942 neorealist classic The Children Are Watching Us, and claims that it “sidesteps melodrama by going for a basically realistic context” (Young 2006). See also Ide (2011: 86) who compares the film to The Children Are Watching Us, as well as to De Sica’s Ladri di biciclette (Bicycle Thieves). La nostra vita was both praised for its similarity to neorealism (Casella 2010a) and slated for being melo- dramatic (Mininni 2010). Caos calmo, according to one approving review, “steers clear of melodrama” (Anon. 2009b). The interesting thing is that the films are being evaluated in relation to a presumed opposition between realism and melodrama. 5. See also the drama Alza la testa (Raise Your Head; Angelini, 2009), in which the fragility of the single father’s authority is bolstered by his training of his son as a boxer. After his son’s death he transfers this disciplinary relationship to the transsexual woman who is, in a melo- dramatic twist, the recipient of his dead son’s heart. 6. This is typical of the schema whereby “in a woman melancholy is coded as disabling and pathological, [ . . . ] but in men it ‘enables’ the transformation of apparent loss into male power” (Rowe 1995: 196). Rowe is here, like Modleski, relying on the work of Schiesari. 7. See Fischer (1991: 60). Fischer uses the term “paternal melodrama” on p. 71. 8. See also Eileen Malloy (1981), who says of Kramer vs. Kramer that “what is ostensibly being called into question by showing a male as a Notes 181

single parent is the assumption that the only real mother is a biological mother or that women are ideally suited to be housewives for the biological reason that they are the ones that bear children.” E. Ann Kaplan also reads these films as male fantasies, “perhaps indicating a cultural reaction to the prior decade when women’s liberation had been a main theme, films and TV programs became obsessed with fantasies of the mother abdicating her role as wife and mother to pursue her own ends, leaving to the father the domestic terrain that he found increasingly rewarding” (1992: 184). She goes on to pose the question, “What is culture’s investment in this fantasy? How far are such images in the service of men co-opting a role being revali- dated at the very moment that more women choose not to occupy it?” (188). Relevant here is also Tania Modleksi’s work on Three Men and a Baby (Nimoy, 1987), in which she argues that the effect of the film’s “appropriation of the maternal” is “to give men more options than they already have in patriarchy: they can be real fathers, “imaginary” fathers, godfathers, and, in the older sense of the term, surro- gate mothers” (1991: 88). 9. See the unsigned article entitled “Padre, papà o mammo?/Father, dad, or mammo?” on the website of KILA, an initiative of the Piedmont Regional Council for Equal Opportunities: “Watch out, though: these are affectionate fathers, who are not afraid to show their feelings, who want to be present in the lives of their children, and who are trying to create a new and autonomous set of characteristics. These are not mammi: the model of contemporary fatherhood remains masculine, because if it turns into a poor imitation of the mamma, taking on her typical characteristics, if it becomes a feeble copy, always giving way and seeking consensus, this can have a negative effect on the development of the child” (Anon. 2010a; emphasis theirs). See also the deeply unsympathetic online article by Franco Molon on the case of a Pugliese woman who wishes to undergo gender transition and yet freezes her eggs with the hope of becoming a parent: the article is published on the online blog of the center-right Catholic magazine Tempi and is entitled “The Woman who Wants to Become a Man and then a Mammo” (Molon 2012). 10. See Halberstam (1998: 269): “Why are we comfortable thinking about men as mothers, but we never consider women as fathers?”. 11. See also the work by Taurino (2003), in which he interviews Italians about their perceptions of new masculinity and fatherhood. 12. See www.maschileplurale.it. Part of their manifesto reads: “The members of the Association have been engaged for years in the theory and practice of redefining male identity, developing a plural conception of masculinity that is critical of the patriarchal model, and aimed at constructing a positive relationship with the women’s movement.” On Maschile Plurale see Nardini (forthcoming). 182 Notes

13. Statute of the Associazione Uomini Casalinghi, February 14, 2008; http://www.uominicasalinghi.it/index.asp?pg=82. “The Association operates with the purpose of reconstructing the pre-patriarchal soci- eties known as ‘gylanic’ or matrilineal, not matriarchal, because the concept of matriarchy suggests the power of the mother, while our Association proposes to value the authority of the female figure.” 14. http://www.uominicasalinghi.it/index.asp?pg=82. 15. http://www.uomini3000.it/188.htm. 16. http://www.movimentomaschile.org/?p=37. See also “Maschi Selvatici”/Wild Men; http://www.maschiselvatici.it and “Pari Diritti Per Gli Uomini”/Equal Rights for Men; http://digilander.libero. it/uomini/. Taurino refers to these groups as part of a “reactionary response to the problem of gender difference” (2003: 136). 17. See Ruspini (2007: 312–13.) Statistics show that between 2007 and 2010 the percentage of children of divorced parents entrusted to the sole custody of the mother dropped from 46 percent to 23 percent, while the percentage of those children placed in the shared custody of father and mother had risen from 50 percent to 73 percent. ISTAT figures available from dati.istati.it. Members of forums such as Questione Maschile http://www.questionemaschile.org /forum/index.php have lengthy debates about the rights of sepa- rated fathers, and there was an interesting proposal in 2008 by center-right member of parliament Emerenzio Barbieri to have Article 31 of the Constitution altered. The article currently reads: “The Republic protects maternity, childhood and youth, supporting the institutions that are necessary for this protection” and the suggested version was “The Republic protects maternity and paternity, childhood and youth, supporting the institutions that are necessary for this protection.” The proposal asserts the need to protect paternity in order to combat the “paternal absence” deemed responsible for Italy’s “ever more fragile young boys and young men.” See http:// www.camera.it/126?tab=1&leg=16&idDocumento=1395&sede=& tipo=. 18. De Cordova goes on to note that “the melodrama has, in fact, been central to the cinema’s claim for aesthetic legitimacy because it has supported, more than any other genre, the claim that film incorpo- rates the art of acting” (1991: 122). 19. Geraghty notes that the star-as-performer (as distinct from the “star- as-celebrity” and the “star-as-professional”) is “often associated with the high cultural values of theatrical performance, even when that performance takes place in film or television” (2000: 188). 20. Perfetti (2010) refers to Germano as an “anti-star” (antidivo); Peter Bradshaw (2010) says “Germano is great—it’s not stretching things to compare him to the young De Niro in Mean Streets.” Dyer’s discussion of the “rhetoric of authenticity” pertaining to certain star images Notes 183

is relevant here: “Authenticity is established or constructed in media texts by the use of markers that indicate lack of control, lack of pre- meditation and privacy” (1991: 137). 21. Lietta Tornabuoni (2010) says that “Germano’s sensitive strength carries the whole film,” in her review piece. Liam Lacey (2011) asks, “Can a performance carry an entire movie? Elio Germano’s role as a construction foreman working in the outskirts of Rome in La Nostra Vita (Our Life) almost does the trick.” “Germano’s acting conveys magisterial personality,” says Maurizio Porro (2010). 22. It’s described as “a bracing neo-neorealist drama,” Anon (2011a). Lee Marshall (2010) also uses the designation “neo-neorealist.” The term neorealismo appears frequently in Italian reviews of the film: see, e.g., Lico (2010). 23. “I shot this film like a documentary, where I lead the actors in the direction I wanted them to go but then I just let them go, set them free.” Daniele Luchetti, quoted in Lardera (2011). 24. “We basically had no rehearsals, as I wanted to capture the actors’ first reactions to the events. [ . . . ] I was not happy with the scene where Claudio is informed of Elena’s passing. So I approached some real nurses and asked them how they deliver the sad news in real life. I then asked them to do the same with Elio. He is a very sensitive actor and the reaction you see on film was his first and only reaction. I wanted that authenticity.” Quoted in Lardera (2011). 25. A deleted scene on the DVD (01 Distribution, 2010) shows Claudio’s bodily collapse immediately after the funeral, as he swoons and has to be caught by his brother (Raoul Bova). 26. See also the ending of Luchetti’s Mio fratello è figlio unico (2007), for which Germano won a David di Donatello prize, which employs the same shooting technique and performance style as Germano’s mourn- ing for his dead brother is filmed from behind and from the side in an extended scene that accentuates wordless bodily performance. 27. “With his performances in Le chiavi di casa and Romanzo criminale, and with this directorial debut, Kim Rossi Stuart, whose tendency to go against the flow never ceases to amaze, takes a giant leap forward” (D’Agostini 2006). Critics also note approvingly that Rossi Stuart only starred in Anche libero va bene reluctantly, when the lead actor dropped out. 28. Thomas Elsaesser offered probably the most celebrated description of melodrama’s use of interior space, saying that “melodrama is icono- graphically fixed by the claustrophobic atmosphere of the bourgeois home and/or the small-town setting, its emotional pattern is that of panic and latent hysteria, reinforced stylistically by a complex handling of space in interiors [ . . . ] to the point where the world seems totally predetermined and pervaded by “meaning” and interpretable signs” (1991: 84). 184 Notes

29. I have borrowed the notion of ground and figure from Lury (2010: 186), who uses it to discuss the performances of Anna Magnani and the child actress playing her daughter, Tina Apicella, in Visconti’s Bellissima. 30. “Those are the types of things the Americans do. The kind of performance that Dustin Hoffman gives in Rain Man, even though it’s great, doesn’t interest me [ . . . ] I was formed by the neorealist school, and I’ll never forget their lessons.” Amelio, quoted in Robiony (2004). Andrea Rossi suffers from cerebral palsy. 31. Amelio, quoted in Robiony (2004). Andrea had to be fitted with an earpiece into which his lines would be spoken and he would repeat them, as he was unable to memorize long sections of dialogue. 32. “Some scenes had to be filmed up to thirty times because for Andrea Rossi it was difficult to understand that acting means pretending to do something, that the character he was acting wasn’t him, but someone he was impersonating.” Amelio, quoted in Robiony (2004). Lury (2010: 161) discusses how the child performer and the animal performer are aligned as natural and artless; in fact, in the film Gianni calls Paolo a “little animal” at one point. 33. Amelio says of Andrea Rossi that “we would guide him step by step, word by word, expression by expression, by means of an earpiece [ . . . ] Kim Rossi Stuart was heroic, as well as being excellent himself.” He goes on to say of Andrea that “the difficulty of his life requires one continuous act of heroism.” Quoted in Aspesi (2004). 34. “But perhaps for the first time the author-director-actor leaves himself behind, escapes from constant autobiography, in order to become true, like a real actor, to a character that is different to him” (Aspesi 2008). 35. It is interesting to note that Caos calmo sparked intense debate about the authenticity of its performances: however, the focus was placed on the sex scene between Moretti and Isabella Ferrari, which was alleged to be “real.” See Anon (2009c). 36. “Crying is frequently understood today as a perverse, feminizing enjoyment of temporary weakness that would cause embarrassment for supposedly autonomous selves, for male adults” (Hagin 2008: 119). 37. It is significant that Mastrandrea’s character, Giulio, is essentially treated by the film as a “fallen man”: punished for committing adul- tery, he loses his job and home, and like the “fallen woman” of melodrama, is forced to fend for himself in an economically hostile world.

4 The Last Real Men: Ro m a n z o cr iminale 1. The film was praised by international critics: Lindesay Irvine in The Guardian (2006) goes so far as to call the film “the year’s finest Marty Notes 185

[Scorsese] movie.” It was also praised for its incorporation of political conspiracies: “The film ticks all of the crime genre’s boxes [ . . . ] However, when it reminds itself that it is telling a story based on a real-life Italian gang, it rises above the basic conventions” (Morrison 2007). However, some critics also noted that this political material might be incomprehensible to foreign audiences: Peter Bradshaw (2006) writes that “it is very murky stuff, and Placido could and should have explained the conspiracy theory a little more.” 2. See Kernan (2004: 25) on how trailers direct the spectator toward particular viewings of films. 3. Guido Bonsaver notes how the film Romanzo criminale owes a debt to “Italy’s tradition of B-movie gangster films of the 1970s directed by the likes of Fernando Di Leo, Bruno Corbucci and Umberto Lenzi” (2006: 80). 4. See Falcetta (2009). 5. See Thompson (1978 and 1985). 6. See also the controversy over the temporary erection of statues of the Banda members in Rome’s EUR district as part of promotion for the first season (Anon. 2008). 7. The actor who is routinely evoked nostalgically by critics as the great ideological figure of the 1970s is Gian Maria Volonté, who will be discussed further in chapter 6. Here I will merely note that Battista (2010) in his discussion of Rossi Stuart’s performance as Vallanzasca claims that “even at the time of Banditi a Milano/The Violent Four (Lizzani, 1968) the question was asked whether the face, the gestures the ideological arrogance of Gian Maria Volonté, who played the part of the boss of the infamous Cavallero gang, wasn’t sucking more vul- nerable viewers into a whirlpool of imitation, stimulating the desire to emulate him and a sense of fascination with the mixing of crime and politics.” 8. See, e.g., http://www.youtube.com/watch?v=2yAW_lYqjOw and http://www.forum-calcio.com/printview.php?t=58784&start=0. Also Anon. (2010b). On the popularity of the t-shirts, see Anon. (2010c). On the series’ fandom see Boni (2013: 96–104). 9. A further film about the gang is Fatti della Banda della Magliana (The Facts of the Banda della Magliana; Costantini, 2005). Shot on a low budget on one main set, it is notable for its unglamorous mise- en-scène, its reliance on the court documents of the trials of the gang members, and the presence in the cast of Roberto Brunetti, who also played Aldo Buffoni in Placido’s film. 10. See also Lucci (2012: 162) who calls it a “knowing homage to a certain kind of Pasolinian cinema.” 11. The painting is Caravaggio’s Madonna dei Pellegrini (Our Lady of the Pilgrims), which thus reinscribes Freddo into the feminine (maternal) space. 186 Notes

12. Libanese also flashes back to this founding moment as he dies, though his flashback focuses on his laming. 13. In the series the beach is also represented as a homosocial site, but is given less prominence, as the series begins and ends in the Magliana itself, the space of urban authenticity. The gang do, however, play football on the beach prior to their first job, introducing themselves to their opponents using their real first names for one of the only times in the entire series: it is a moment of both unity and innocence. 14. See Savran (1998: 62) for a reading of gender melancholia’s “fantasmatic recovery” of loss in relation to American cinema. 15. Sisco King’s work on sacrificial white male protagonists in American cinema is relevant here: she notes that “sacrificial narratives offer the reassuring promise that one thing can become something else: loss transformed into regeneration, an end made into a beginning” (2012: 37). 16. I would also point to the TV fiction, Aldo Moro: il presidente (Aldo Moro: The President; Tavarelli, 2008), which imagines a scene with Moro’s dead bodyguards on the beach, and which ends with Moro himself joining them. I will discuss the haunting presence of Moro in Sorrentino’s Il divo in chapter 6. 17. When Dandi meets Patrizia for a sexual encounter later in the epi- sode, an encounter that he tries to make romantic, the Baglioni song invoked earlier by Freddo and Libano, “Passerotto non andare via,” is playing in the background. Baglioni’s persona itself manifested interesting tensions between teen pop idol and Pasolini-inspired singer- songwriter: see Ciabattoni (2007). 18. Bruzzi’s comments on how in the gangster film “sexual energy is [ . . . ] displaced onto clothes, the mutual admiration between gangsters frequently being expressed through an excessive admiration for each other’s sumptuous garments” (1997: 75), have resonance for Dandi, in particular the scene in which he dresses Scrocchiazeppi for his wedding, and the scene in which Dandi and Libanese fondle women’s clothes and underwear in the boutique as they are shopping for the women in their lives. 19. Anne-Lise François adds that “falsetto is only false from a hegemonic perspective” and describes it as “the best alien voice by which to hear and re-examine disco’s own contradictory impulses towards anonym- ity and self-display, liberation and self-distortion” (1995: 443). 20. On the ways in which dismissal of disco and soul by Italian music magazines of the 1970s such as Ciao2001, Muzak, and Gong functioned as part of these magazines’ “strategies of legitimation,” see Varriale (2012). 21. “You mean I’ve been dancin’ on the floor darlin’ / And I feel like I need some more and I /Feel your body close to mine and I / Move Notes 187

on love it’s about that time / Make me feel—mighty real / Make me feel—mighty real” (writers: Sylvester James and James Wirrick). 22. Parissi (2009) notes that “the scene of the beating of Shangai (ep. 3) against a background of a disco song played at top volume cannot fail to bring to mind the sadistic torture that Mr Blonde inflicts on the policeman in Reservoir Dogs.” However, we might also note that this technique was also used in the poliziesco genre: see Curti (2006: 44) on the use of a Nino Ferrer song to soundtrack the beating of a prostitute in Banditi a Milano (Lizzani, 1968). 23. Kathryn Kalinak makes a similar point: “The formal autonomy of popular music can sometimes lessen its chances of being used to maintain structural unity or continuity” (1992: 187). Likewise, “Moro” as an event arguably resists full integration into the Italian national narrative. 24. “Lady Marmalade” is a prostitute in the French Quarter of New Orleans: “He met Marmalade down in Old New Orleans/Struttin’ her stuff on the street” (written by Bob Crewe and Kenny Nolan, 1974). 25. In this context we could also usefully think about the juxtaposition in Buongiorno notte (Good Morning, Night; Bellocchio, 2003) of Moro’s suffering with Pink Floyd’s “Great Gig in the Sky” (Richard Wright, 1973) (featuring another female vocalist, Clare Torry). 26. Neale is here paraphrasing Paul Willemen’s argument about Mann. 27. See also Carroll (2011: 1–23) and Sisco King (2012) for a similar argument. 28. Ciao maschio, which starred Gérard Depardieu and Marcello Mastroianni as emasculated men fighting for survival in a postapoca- lyptic New York, seems an apt intertext for Romanzo criminale, and it may not be going too far to read the fur coat-clad Libanese on the beach as a mammalian cousin to the giant corpse of King Kong on the beach in Ferreri’s film. 29. In recreating the Bologna bombing Placido chose to blow up (digi- tally, of course) the wrong wing of Bologna station. This deliberate historical “error” is then followed by the scene of Freddo wander- ing across the rubble: although he seems to have been superimposed on footage of the real bomb scene, the making-of featurette on the DVD makes clear that the whole scene was recreated. See O’Leary (2011a: 70). 30. In the scene in which Roberta and Freddo view the Caravaggio he muses to her that “if Caravaggio had seen you, he’d have put you in the painting instead of Our Lady.” The film’s ending, with Freddo’s shroud-covered body lying on the steps of the same church, offers a fairly explicit analogy between Freddo and the figure of Christ. 31. See also the comments on the “emotional ambivalence” of the 2012 Sky miniseries Faccia d’angelo (Angel Face), starring Elio Germano 188 Notes

and based on the life of the 1980s criminal Felice Maniero, known as “il Toso”: “Germano’s Toso echoes the acting style and human characterization of figures such as il Freddo or Renato Vallanzasca, both played by Kim Rossi Stuart. Characters and people who can communicate and transmit emotions that are never clear-cut, but are ambivalent, and manage to convey both sides of the unscrupulous criminal and the fragile and insecure man. These are characters in the face of whom we can’t just issue definitive judgments and immoveable condemnations, because we get a sense of their weaknesses, of the internal conflict between actions and intentions, of the fragility that makes them so similar to the rest of us, ordinary men, to our brothers, and to our close friends” (Favaron 2012). 32. In the series it is Libanese’s arm that is marked, when he is deliberately scarred by Terribile in the flashback in which Terribile rapes Libanese’s girlfriend Sara. The fact that this event is represented as Libanese’s trauma, rather than his girlfriend’s, through the numerous flashbacks to it, is consistent with Sisco King’s analysis of how “what ‘counts’ as trauma in our culture is typically that which is imagined to affect men” and how men need to “take possession of the wound” (2012: 85) to appropriate victim status. 33. This scene is possibly referencing (and inverting) the poliziesco Milano odia: la polizia non può sparare (Almost Human; Lenzi, 1974), which culminates with the police commissioner, rendered impotent against criminality, and lamed by the violent thugs he can no longer legiti- mately combat, shooting the villain (Thomas Milian), on a rubbish tip. The film ends with a shot of Milian lying prone on the rubbish as the cop limps away to turn himself in. 34. This also neatly connects to the idea of “post-ideological faces” in star terms expressed by Menarini, and a nostalgia both for the social actors and the film actors of the 1970s. 35. This aspect of social change is referenced ironically by Libanese in the series (1:4) when he says to Dandi: “Women should be spoiled. There should be a law to stop them working. Labour makes them lose their looks.” 36. Il Vecchio intones: “The world is changing. In future crimes won’t be committed with knives.”

5 Brothers in Arms: History and Masculinity in the a n n i d i p i o m b o 1. Now in Saba (1981). 2. Both Mio fratello and Il grande sogno were coproduced by the French company Babe Film, who also coproduced Romanzo criminale. 3. We should note also the fraternal relation between the band members in Romanzo criminale, and how even in La prima linea Sergio’s Notes 189

(Riccardo Scamarcio) closest emotional tie is arguably shown to be with his childhood friend Piero, who offers him the possibility of escape from Prima Linea, and of becoming “uncle Sergio” to Piero’s unborn daughter. This will be discussed further in chapter 6. 4. For Giordana, Petraglia and Rulli scripted Pasolini, un delitto italiano (Who Killed Pasolini?; 1995), La meglio gioventù, Quando sei nato non puoi più nasconderti (Once You’re Born You Can No Longer Hide; 2005), and Romanzo di una strage (Piazza Fontana: the Italian Conspiracy; 2012), on the 1969 Piazza Fontana bomb. They have collaborated with Luchetti on Il portaborse (The Yes Man; 1991), Arriva la bufera (The Storm Is Coming; 1993), La scuola (The School; 1995), I piccoli maestri (Little Teachers; 1998), Mio fratello è figlio unico, and La nostra vita. Their “collaboration” with Placido dates back to his starring role in La piovra, but they have also scripted Pummarò (1990), and Romanzo criminale, as well as Mery per sempre (Forever Mary; Risi, 1989), in which Placido starred. For Amelio they wrote Il ladro di bambini (The Stolen Children; 1992) and Le chiavi di casa (2004). Petraglia has also had a noteworthy screenwriting career away from Rulli, collaborating on the early Nanni Moretti- directed films Bianca (1984) and La messa è finita (The Mass Is Ended; 1985), and working on a number of films directed by Wilma Labate (Ambrogio (1992), La mia generazione (My Generation; 1996) and Domenica (2001), as well as on La prima linea (De Maria, 2009). They also cowrote four-part TV miniseries Le cose che restano (Longlasting Youth), which was transmitted on RAI 1 in 2010, and which has been widely compared to La meglio gioventù, both for its long form and for its use of a bourgeois family to tackle events of recent Italian history. Rulli also had an acting role in Moretti’s Il caimano (The Caiman; 2006) as the judge. Since December 2012 Rulli has also been president of the Centro Sperimentale di Cinematografia in Rome, and thus has an important institutional role within Italian cinema. 5. “The most diverse figures of the Italian critical scene contributed to the overemphasis on the figure of the author. For those of us who were making films it was pretty disconcerting to see Edoardo Bruno going arm-in-arm with Goffredo Fofi, and Enrico Ghezzi and Gian Luigi Rondi, united in a kind of eucharistic act in which the critic- priest exalted the auteur-god” (Petraglia and Rulli 1998: 378–79). 6. In fact, a review of La nostra vita declares that such is Petraglia and Rulli’s “authorial status” that it now seems necessary for the critic to “relegate the various directors with whom they have worked to an inferior plane” (Meale 2010). 7. To this end, although I cento passi was written by Giordana with Claudio Fava and Monica Zapelli, and Il grande sogno was scripted by Placido with Doriana Leondeff and Angelo Pasquini, I consider all 190 Notes

the films as participating in this genre or cycle of middlebrow drama. Negri describes Rulli and Petraglia as part of the “brand” of impegno, and as representing a “guarantee of quality” (2011: 137). 8. “In the space of a few years, instead of witnessing a natural genera- tional turnover, we saw a kind of unintentional genocide that affected many professional categories, from screenwriters to actors” (Brunetta 2003: 350). 9. Brunetta cites films such as Mery per sempre, Il muro di gomma (The Invisible Wall; Risi, 1991), Ultrà (Ultras; Tognazzi, 1990), Un’altra vita (Another Life; Mazzacurati, 1992), and Il ladro di bambini, as examples of this “Resistance.” 10. Brunetta quotes Mario Sesti’s verdict on Petraglia and Rulli: “They have had the thankless task of reconciling the low-quality practices of televison—as the screenwriters of the most successful series of La piovra—with their more esoteric role as the creative partners of directors such as Amelio, Del Monte, Moretti, and the Taviani brothers, as well as Luchetti, Mazzacurati, Risi, and Giordana” (2003: 389). 11. Brunetta says that “the term neo-neorealism has been used in relation to this need for the new generation of directors to reappropriate the power to scrutinize the present” (2003: 397). Sesti, though, refers to this term as a “lexical horror” (1994: 14). 12. See Petraglia (1999). 13. See, e.g., Rubin (1992) and Harker (2007). 14. “The middlebrow is the man, or woman, of middlebred intelligence who ambles and saunters now on this side of the hedge, now on that, in pursuit of no single object, neither art itself nor life itself, but both mixed indistinguishably, and rather nastily, with money, fame, power, or prestige” (Woolf 1966: 199). Woolf’s definition was first published in a letter in 1932. 15. Bourdieu’s 1965 work, Un art moyen: essais sur les usages sociales de la photographie, translated into English as Photography: a Middlebrow Art, was published in Italian in 1972 as La fotografia: usi e funzioni sociali di un’arte media. 16. Elsewhere Micciché notes the difficulty of separating out quality cinema from the film medio, talking of “two notions that are ambiguous but by now laden with conventional symbolic meanings,” i.e., “the so-called ‘film medio,’ and the so-called ‘cinema di qualità’ (‘quality cinema’)” (1976: 58). 17. Micciché understands the “top zone” of Italian cinematic output as being composed of auteur films by the likes of Pasolini, Fellini, and Bertolucci, and the “low zone” as lowbrow genres, particularly popular comedies. 18. The New York Times called La meglio gioventù “as rich with character and incident as a 19th-century novel” (Scott 2005) while La Repubblica called it “a romanzo popolare documenting the collective Notes 191

life of a generation of Italians” (D’Agostini 2003). The term romanzo popolare, which can be loosely translated as “popular fiction” or “popular novel,” recurs frequently in Italian reviews of the film. 19. Daniele Sesti (2003) says that “the film is also a homage to the great masters of Italian cinema, who are often cited more or less directly: Pasolini the poet (La meglio gioventù is the title of a collection of his poems) but also Pasolini the director, Rossellini, Scola and above all Visconti, who appears to be the inspiration for the whole film. The Visconti of Rocco e i suoi fratelli, but particularly the Visconti of Il Gattopardo/The Leopard.” Audino (2003a) says polemically that “we happened to read that an ex-RAI president said that a TV series, no matter how good it is, can never be as good as a film. That is like saying that Michelangelo’s Pietà can never be as good as his Last Judgment, or vice versa. And we need only look at E.R., The Sopranos or La meglio gioventù Part Two, which are stylistically more accom- plished than most Italian cinema of the same period.” 20. See also Fowler (1997: 4), who notes in relation to Bourdieu’s work that “male bourgeois consumption can be repudiated as effeminate.” For Woolf the middlebrow is “geniality and sentiment stuck together with a sticky slime of calf’s-foot jelly” (1966: 200). 21. They continue that “the crumbling of overarching hegemonic proj- ects does not automatically foil the concept of impegno, preventing any further use of it; it rather ‘resemanticizes’ it, broadening its scope and use.” 22. Marco Tullio Giordana, DVD commentary, La meglio gioventù. Giordana’s use of the musical theme from Jules et Jim (Truffaut, 1962), for the early scenes in which Matteo, Nicola, and Giorgia run away together, is highly suggestive in this context. 23. This is similar to Flower MacCannell’s point, when she states that after the Enlightenment had abolished the cult of the Ancestor, the brother became the “metaphor of the artificial modern collective” (1991: 11). 24. Queerness is inscribed overtly into the diegesis of La meglio gioventù through the scene in which Matteo picks up a transvestite prostitute who gives him a necklace, which he later gives to Mirella, creating another triangle. Interestingly, most discussion of the film completely (wilfully?) ignores this signal as to Matteo’s sexuality. See a typical review: “The man’s misery is a mystery to everyone; like his country, he inspires both awe and frustration, ravishing the world with his beauty and unpredictable emotional outbursts. Everyone wants to break in, but the code remains unknown” (Gonzalez 2004). 25. In fact, in an interview Rulli admits the influence of Rocco on their work: “Rocco e i suoi fratelli is a film that has always been in the back of our minds, and every so often it comes to the surface” (Anon. 2007c). I would also note here the scene in I cento passi in which 192 Notes

Peppino and his brother Giovanni writhe around on the floor in a hysterical embrace, which is an analogous mixture of eroticism and antagonism. 26. Says Petraglia: “In general we start from the characters, not from the themes. First we came up with the idea of two brothers and of a sort of ‘double bond’ that connects them, and this was before we even thought about what would happen to them, what jobs they’d have, how their paths would be fated to cross. These two parallel lives that run right through our lifetime allowed us to pour into the script bits of material that we had been accumulating over the years” (Audino 2003b). 27. Petraglia notes of the film that “Nicola takes over the whole final part, because it’s his job to narrate the coming to terms of him and of our whole generation with the idea of a life that can still be meaningful, even ‘after’ the great dreams, ‘after’ the wounds and the suffering,” quoted in Audino (2003b). 28. As discussed in chapter 3, Germano delivers a similar performance, both in terms of gesture and of camera framing, in La nostra vita. 29. Other critics note the soap opera conventions at work in the film: e.g., Alberione notes that “the script isn’t afraid to invoke the tradition of serial fiction, and even some tropes of the soap opera,” and that at times the film “indulges itself too much in the conventions of television” (Alberione 2003). 30. In Francesco Casetti’s semiotic construction of cinematic address, he defines address as “the manner in which the film identifies its interlocutor [ . . . ]; the manner in which it assigns this interlocutor a place from which to follow the proposed tasks, giving her a spatial position, of course, but also a cognitive and affective one; and finally the way in which the film causes the spectator to perform certain acts of recognition, leading her to identify not only the terms of the presentation but to recognize herself as the effective addressee” (1998: 14). 31. D’Onofrio argues that this vague pastness is offered both to the spectator who remembers the period, as the song predates the film’s events (as it does in La meglio gioventù), and to the younger spectator who was not alive in the 1960s. 32. See Powrie (2006: 90). 33. See also Tardi (2006). 34. See O’Leary (2011a: 242). This idea is also presented in Lombardi (2009: 92). 35. See Giancarlo De Cataldo’s description of Petraglia and Rulli as occu- pying “the inner parlour of Italian screenwriting,” a metaphor that places them firmly within the Italian bourgeoisie. Cited in Antonello, De Cataldo and O’Leary (2009: 359). Relationships between a sibling who chooses terrorism and another who chooses a bourgeois career are also explored in two recent novels, Enrico Palandri’s I fratelli minori (Younger Brothers; 2010) and Francesca Marciano’s Casa Notes 193

rossa (Red House; 2007). However, in both novels, interestingly, the sibling who becomes a terrorist is female. 36. Jasbir Puar makes a similar argument about haunting, saying it “defuses the binary between past and present, because indeed the becoming- future is haunting us” (2007: xx). 37. “To tell the truth, anyone who was a Communist in the 1950s will immediately recognise the new language of the Red Brigades. It feels like browsing through a family album: all the ingredients that were forced down our throats in the lessons on Stalin and Zdanov that we remember so fondly” (Rossanda 1978). 38. For example, in Il grande sogno the death of the father is respected even by police who are coming to arrest militant Andrea at his family home. 39. Such tortured fraternal antagonism can be read, in Mitchell’s terms, as “hatred for a sameness that displaces which then generates the category of the ‘other’ as a protection” (2003: 48). 40. In this sense the film merely follows Luisa Passerini’s words, from her oral history of 1968, when she says: “The movement was homoerotic. It was much easier for men to admit feelings of love for the leaders, who were themselves mostly male, than it was for women to find and accept new forms of female authority” (Passerini 1988: 119). 41. The scene might also remind the viewer of the moment in Divorzio all’italiana in which Mastroianni’s character watches himself on screen in La dolce vita, suggesting something about the way in which cinema and its stars inhabit the mainstream and about the persuasive function of cinema for the Italian audience.

6 Impersonating Men: History, Biopics, and Performance 1. For academic discussions of this return to the 1970s, see Cento Bull and Giorgio (2006), Antonello and O’Leary (2009), and Foot (2009), who illustrates more generally the turn to memory studies in Italian historical and cultural studies. Much of the academic attention on the 1970s has focused on the murder of Christian Democrat leader Aldo Moro in 1978 and the ways in which his figure continues to “haunt” Italy. See Marini-Maio (2012) and Glynn and Lombardi (2012). 2. O’Leary includes in this category Romanzo criminale (the film), Buongiorno, notte, Arrivederci amore, ciao (The Goodbye Kiss; Soavi, 2006), Il divo, La meglio gioventù, and Piazza delle cinque lune (Five Moons Plaza; Martinelli, 2003). 3. Gian Piero Brunetta (2012: 386) notes the role played by noncin- ematic critics (i.e., political journalists and relatives of victims) in the reception of La prima linea in particular, although he also includes both Il divo and Il caimano in this discussion. I would argue that 194 Notes

Vallanzasca, which he does not mention, is analogous to La prima linea in terms of its reception outside the formal institutions of cinema criticism in Italy, as we will see. 4. Dennis Bingham notes that “the term ‘biopic’ is frequently used as a pejorative,” and that it is often thought of as “tedious, pedestrian and fraudulent” (2010: 11). Steve Neale says that “the biopic has lacked critical—rather than industrial—esteem. The target of historians and of film critics and theorists alike, it has been the butt of jokes rather more often than it has been the focus of serious analysis” (2000: 60). In the Italian context Milly Buonanno notes the neglect of the form, which, however, dominates TV drama production in the form of fiction biografiche (biographical dramas) (2012: 137). See also Pesce (1993: 8), who notes that biopics “suffer from ambiguity and uncer- tainty” as regards their generic and epistemological status. 5. Alan O’Leary (2011a: 237) also compares it to Pontecorvo’s 1979 Ogro, his film about Basque terrorists, in terms of style, tone, and soundtrack. 6. The reference to the fotoromanzo, the hugely popular illustrated magazines of the 1940s and 1950s, also seems to imply a feminized spectator (presumably drawn in by Scamarcio). 7. Although the film was eventually awarded the status of “film of cultural importance,” the production company, Lucky Red, decided to reject the state funding. See Anon. (2009e). 8. See Bill Nichols on the “organizing unity of verbal commentary” (1996: 62) as a key part of realist epistemology. 9. Commissone per la cinematografia 2008. To clarify, those present had only read the screenplay, so they were commenting on the potential effects of the device, rather than the real ones. 10. This acting style also applies to Mezzogiorno: after the murder of former Prima Linea member William Waccher, Susanna Ronconi gets on the bus, and there follows a twenty-four-second take held on Mezzogiorno’s face, which is immobile except for an almost imperceptible flickering of her eyelids, presumably to indicate moral conflict. 11. The idea that Scamarcio, rather than Mezzogiorno, is the problematic figure here is further supported by the fact that of the two actors Scamarcio is the only one to undergo physical transformation for the role, while Giovanna Mezzogiorno looks much as normal. 12. Petraglia is quoted as saying that “we believe that the register used to narrate the story of this couple cannot give rise to accusations of exaggeration or idealization” (Commissione per la cinematografia 2008). 13. Petraglia “states, for example, that in order to convey the absurdity of the choices made by the terrorists, the filmmakers invented the character of Sergio’s friend who tries to dissuade him” (ibid.). Notes 195

14. Among the people killed by Vallanzasca and his gang were four policemen. 15. Davide Cavallotto, Lega Nord MP, quoted in Anon. (2011b). Although calls for a boycott were unsuccessful, and the film was relatively successful at the Italian box-office, taking in nearly €3m, renewed protests in 2012 were successful in forcing Sky Italia to post- pone its TV screening as the proposed date was the anniversary of the murder of two of the policemen in February 1977. See Regina (2012). 16. See Bianco (2011). The protests were organized by COISP (Coordinamento per l’Indipendenza Sindacale delle Forze di Polizia). A complaint was also lodged by the SAP (Sindacato Autonomo di Polizia), with the organization’s secretary Andrea Carobbi Corso particularly appalled that the film was directed by a former policeman: “It is shameful that an ex-policeman like Michele Placido in this film has tried to glorify the actions of a criminal, to the extent of deceit [ . . . ] The director has suggested that the criminal, as well as appearing heroic in the eyes of the public, with a highly developed sense of friendship, honour and family, could even be someone wor- thy of emulation” Quoted in Anon. (2011c). 17. Quoted in Casella (2010b). Placido responds to the interview question “Those who have attacked your film believe that it is inappro- priate to cast a good-looking and charismatic actor like Kim Rossi Stuart in the main role, as it might enable spectators to identify with the hero” thus: “Renato Vallanzasca [ . . . ] was a good-looking guy. [ . . . ] Therefore the choice of Kim isn’t a betrayal of reality.” Quoted in Montini (2010). Placido playfully references his own former heartthrob status by including in the film’s montage of newspaper headlines references to the fact that both he and Alain Delon had been considered for the role of Vallanzasca in the 1970s. 18. Nepoti (2011) in his review notes that Vallanzasca, like Kim Rossi Stuart, was “gorgeous” and that both men have “the same blue eyes.” 19. Quoted in featurette “The Making of Angels of Evil, on Angels of Evil DVD (Artificial Eye, 2011). Barone says: “Placido gets caught up in the identification with his protagonist, and employs actors who are having the time of their lives” (2010: 38). 20. Pontiggia links the soundtrack to the use of close-ups in his criticism of Vallanzasca as a “film that is complicit, not with the criminal, but with the spectator. [ . . . ] It proceeds, as in Romanzo criminale, by a process of accumulation, with explosive scene after explosive scene, cool blue tones, music everywhere (the Negramaro soundtrack is invasive and pervasive), use of close-ups, because the long shot would let us see too much, grasp things and make distinctions. Conversely, Placido is trying to create a kind of scopophilia: not a suitable distance, but total absorption” (2010: 32). 196 Notes

21. See Jandelli (2012: 74) on the role of self-flagellation in the film, as well as the way the film constructs “martyrs of the flesh.” 22. The viewer understands from the previous scene, in which Vallanzasca deliberately provokes the prison officers, that the violence regularly meted out to him is, to some degree, desired. 23. The film also undermines Vallanzasca as a heterosexual icon, through the homosocial bond with his enemy Francis Turatello (Francesco Scianna), cemented when Turatello acts as best man at Vallanzasca’s wedding, which the film suggests is an alibi for the wedding the two men cannot have (Turatello’s dialogue is fairly pointed, as he says to Renato “We just got married. Aren’t we going to have a honeymoon?”). 24. See O’Rawe (2011). 25. Of course, this technique of mixing archive and fictional footage is a fundamental technique of the biopic: see, e.g., the ending of Malcolm X (Lee, 1992). 26. “Kim Rossi Stuart carries the whole film: he hits all the right notes of a wild and impetuous character through studied imitation of man- nerisms” (Rondi 2011). As noted in the discussion of Anche libero va bene in chapter 3, Rossi Stuart is regarded as a “star-as-performer,” in Geraghty’s terms. His skill at impersonation is also on display in the film Piano, solo (Milani, 2007) a biopic of the jazz pianist Luca Flores. 27. On the intertextual “ghosting” of performances, see Carlson (1994). Carlson deals with stage performance, but he reminds us that the public “is very likely to view any new creation by an actor with some experience not only ‘ghosted’ by previous roles, but by an interpretive persona created and maintained by the institutional structures of media and publicity, that offer for all but the most obscure produc- tions the complex interpretive matrix that arouse certain expectations often even before the play opens” (1994: 113). 28. See my analysis of the Bologna sequence and its apparent use of original footage in chapter 4. 29. See De Marchis (2008). On Sorrentino’s Andreotti as “postmodern icon,” see Antonello (2010). 30. See also Antonello’s argument that the spectacular nature of Italian politics itself needs to be transferred onto the mise-en-scène and narrative structures in Italian political cinema (Antonello 2012: 177). 31. Canova and Carocci argue that all of Sorrentino’s films are populated by “deformed and deathly characters [ . . . ] bodies whose humanity is revealed just when they are about to sink into an abyss of deformity” (2009: 96). Spagnoletti and Menarini note “Sorrentino’s grotesque baroque style” (2007–2008: 3). 32. Sorrentino, interview on Il divo DVD (Artificial Eye, 2009). Notes 197

33. See Holdaway (2011) on pastiche and parody in Il divo, and also the debates among Marcus (2010a and 2010b), Antonello (2010), and Marlow-Mann (2010) on Il divo’s relationship to realism. 34. Volpe (fox) and salamandra (salamander) are two of the nicknames that Andreotti acknowledges have been given to him in a voice-over early in the film, along with Il gobbo (the hunchback), Il Moloch (Moloch), and Belzebù (Beelzebub). Several reviewers call Servillo’s Andreotti a “tortoise,” echoing Oriana Fallaci’s (1974) famous description of Andreotti as “a tortoise poking its head timidly out of its shell.” 35. Antonello talks of Servillo/Andreotti’s “radical stillness” (2010: 260). 36. See De Gaetano’s reading of Bakhtin: “the grotesque body is a body in becoming, modified in its parts and organs: it destroys the indi- vidual’s position in the social order by inscribing him in the natural, cyclical order” (1999: 11). 37. Il divo came out in Italy just a fortnight after the release of Garrone’s Gomorra, and Servillo won awards in Italy for both performances. 38. See the 2009 Milan retrospective on Servillo and Volonté, whom the blurb describes as “linked by their intensity and artistic rigour, and by their choice to play characters marked by tormented humanity in films that have left their mark on Italian cinema history.” http:// www.milanodabere.it/milano/rassegne/gian_maria_volonte_toni _servillo_18011.html. 39. L’uomo in più/One Man Up (2001), Le conseguenze dell’amore (The Consequences of Love; 2004), Il divo, and La grande bellezza (The Great Beauty; 2013). 40. Servillo refers to “a strange alchemy” between himself and Sorrentino (featurette on “The Making of Il Divo,” Il divo DVD, Artificial Eye, 2009). 41. See Naremore (1988: 95–96) on the prejudice against make-up, particularly for male actors, as theatrical and deceptive. 42. Servillo talks of how he tried to use his eyes and voice to lend “expres- sivity” to a character who relied on a “minimal use of gesture,” also because of the heavy make-up and prosthetics he was wearing. “The Making of Il Divo.” 43. See Sorrentino, quoted in Bonsaver (2009: 336) on Andreotti’s anger at the scene. 44. Antonello refers to this scene as a “self-conscious ‘consolatory’ narrative, a form of epistemic ‘closure,’ fully exposed both in its fictionality and its ‘oblique’ historical, social and political referentiality” (2010: 260). 45. See also Parotto (2007: 82) who says, “traditional politicians, in their official ‘uniforms,’ are hesitant to smile and tend not to display their bodies, which remain hidden, mere frameworks for their representa- tive and ceremonial functions.” 198 Notes

46. The haunting presence of Moro in Italian cinema has been described by Nicoletta Marini-Maio as “a remnant, returning to haunt Italian society and to search for justice” (2012: 159). 47. Andreotti himself has been much less represented in cinema, with only his portrayal by Massimo De Rossi in Aldo Moro: il presidente (directed by Gianluca Tavarelli for RAI TV, 2008) to set alongside Servillo’s. Andreotti is also briefly portrayed in Il caso Moro (The Moro Affair; Ferrara, 1986), by Daniele Dublino. 48. A further bodily confusion is added by the fact that when Andreotti died in 2013 the majority of newspaper articles and obituaries, in Italy and abroad, described him as “Il Divo,” or made some reference to Sorrentino’s film, so that the fictional portrayal now has begun to obscure the real Andreotti. 49. The film’s use of multiple actors to portray the protagonist has similarities with Todd Haynes’s biopic of Bob Dylan, I’m Not There (2007), in which Dylan is played by five different actors, including Cate Blanchett. 50. Berlusconi’s reaction to the film was airily dismissive: he said merely “yesterday I had the pleasure of seeing an excellent Italian director who has told a fairy-tale and who has given me the nickname that, to tell the truth, I was waiting for: gentlemen, I am the Caiman,” quoted in Anon. (2006). 51. Placido’s character is also hilariously dismissive of Volonté’s much- praised role as Italian energy board boss Enrico Mattei in Rosi’s Il caso Mattei (The Mattei Affair; 1972), referring to it as “you know, that guy, the oil guy.” 52. In a neat intertextual touch, Montaldo had directed Volonté in the politically committed drama Sacco e Vanzetti (Sacco and Vanzetti; 1971). 53. See Padre Pio—tra terra e cielo (Padre Pio—Between Heaven and Earth; directed by Giulio Base for RAI, 2000), and Aldo Moro: il presidente, and L’ultimo padrino (The Last Godfather; directed by Marco Risi for Canale 5, 2008). In relation to Il caimano, Cabona (2006) says that “Placido impersonates himself, with a humour that he should also show as a director.” 54. Several critics note that the plot bears strong resemblance to events in Moretti’s own private life at the time, adding another layer to the representation. See Cabona (2006): “This is a film directed by mid- life crisis Moretti on mid-life crisis Moretti directing a film.” 55. See Casella (2006) on the “auteur cinema” that is being mobilized here. 56. Geoff King notes that female-to-male impersonation is relatively rare in cinema, perhaps because “the female is the marked term, desig- nated as more specific, more problematic and more visible, requir- ing a seemingly active process of transformation: all those montage Notes 199

sequences in which make-up, wigs, foundation garments and other accessories are applied. For a man to dress as a woman, in this context, provides more scope for comic incongruity” (2002: 141). 57. There have been no critical objections raised about Il divo’s “glamorization” of Italy’s dark past, despite its thrilling style, and the DVD tag “Fellini meets Tarantino” makes clear how the auteurist label permits critics to sidestep questions of potentially problematic glamorization. Bibliography

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Page numbers in bold indicate figure. Accorsi, Stefano, 1, 37, 56–7, Babington, Bruce, 13, 47, 141 98, 100, 170n. 29, 170n. 30, Baciami ancora (Kiss Me Again), 170n. 33, 174n. 34 15, 45, 47, 50, 53, 55, 56, 57, Albanese, Antonio, 167n. 1, 176n. 8 59, 60, 176n. 7 Alberio, Marco, 174n. 39 Baglioni, Claudio, 105, 106, 186n. 17 Aldo Moro: il presidente (TV series), Banditi a Milano (The Violent 186n. 16, 198n. 47, 198n. 53 Four), 185n. 7, 187n. 22 Alza la testa (Raise Your Head), Battista, Pierluigi, 142, 185n. 7 180n. 5 Bellassai, Sandro, 3, 4, 5, 168n. 5, Amelio, Gianni, 16, 69, 90, 119, 168n. 7 120, 131, 177n. 13, 179n. 1, Bellocchio, Marco, 119, 135, 141, 189n. 4, 190n. 10 155, 156, 187n. 25 Amore, bugie e calcetto (Love, Belpoliti, Marco, 5, 155, 160 Soccer, and Other Benadusi, Lorenzo, 167n. 5 Catastrophes), 45, 50, 51, Berlusconi, Silvio, 5–6, 17, 19, 54, 55–6, 60, 81, 177n. 16, 41, 97, 114, 139, 156, 179n. 35 157–61, 164 Anche libero va bene (Along the Bernini, Lorenzo, 5 Ridge), 16, 69, 71, 72, 73, Bertolucci, Bernardo, 119, 131, 76–7, 79, 87–8, 89, 177n. 13, 190n. 17 179n. 1, 180n. 4 Bertolucci, Giuseppe, 131 Andreotti, Giulio, 19, 139, 153–7 Bianco e nero (Black and White), 16, anni di piombo, 1, 17–18, 56, 98, 45, 61, 65–6 100, 110, 117–37, 140–7 biopic, 1, 14, 18–19, 139–62 Antonello, Pierpaolo, 124, 153, Bisio, Claudio, 47, 60, 167n. 1, 155, 192n. 35, 193n. 1, 196n. 177n. 16, 179n. 35 29, 196n. 30, 197n. 33, 197n. Bisoni, Claudio, 98 35, 197n. 44 Bizzarri, Luca, 56 Argentero, Luca, 18, 37, 62–5, 118, Bobulová, Barbora, 72, 177n. 16 125, 134, 174n. 34, 175n. 43, Boero, Davide, 24, 33 177n. 18, 179n. 33 Boldi, Massimo, 11 Argentieri, Simona, 80 Boni, Alessio, 18, 118, 127 Arrivederci amore, ciao (The Boni, Federico, 161 Goodbye Kiss), 193n. 2 Bonsaver, Guido, 185n. 3, 197n. 43 224 Index

Bordo, Susan, 174n. 39, 175n. 42 cento passi, I (The Hundred Steps), Bordwell, David, 84–5 18, 125, 130, 141, 189n. 7, Bourdieu, Pierre, 121–2, 190n. 15, 191n. 25 191n. 20 Che ne sarà di noi? (What Will Bova, Raoul, 47, 55, 62, 170n. 33, Become of Us?), 43, 178n. 24 174n. 39, 175n. 43, 178n. 22, Chiatti, Laura, 25, 171n. 4 183n. 25 chiavi di casa, Le (The Keys of the Bradshaw, Peter, 134, 182n. 20, House), 16, 69, 72–3, 74, 76, 184n. 1 77–8, 79, 88–91, 163, 179n. 1, Brintnall, Kent, 150 183n. 27, 189n. 4 Brizzi, Fausto, 15, 24, 45, 50–1, 56, Ci vediamo a casa (See You at 60, 171n. 2, 177n. 14 Home), 43 Brook, Clodagh, 157, 160 Ciao maschio (Bye Bye Brunetta, Gian Piero, 11, 12, 120, Monkey), 109 167n. 3, 193n. 3 Cicconi Massi, Lorenzo, 36 Bugsy, 104 Cimino, Michael, 57, 58–9 Buongiorno, notte (Good Morning, cinepanettone, 11, 46, 48, 63–4, Night), 141, 155, 156, 187n. 171n. 2 25, 193n. 2 Cohan, Stephen, 44 Buongiorno papà (Out of the Colpire al cuore (Blow to Blue), 178 the Heart), 131, 133 Butler, Judith, 102–3, 163, comedy, 1, 9, 11, 15–16, 24, 170n. 36 45–68, 141 Buy, Margherita, 159, 167n. 1 and commedia all’italiana, 11, 46, 48, 51, 65 caduta degli angeli ribelli, La and romantic comedy (rom-com), (The Fall of the Rebel 15, 37–8, 39, 41, 42, 46, 65, Angels), 133 176n. 2 Cagney, James, 109 Comencini, Francesca, 16, 45 caimano, Il (The Caiman), 19, 139, Comolli, Jean-Louis, 152 141, 157–61, 162, 189n. 4, Connell, R. W., 9, 168n. 10 193n. 3 Costa-Gavras, 35, 174n. 30, Califano, Franco, 106 175n. 43, 175n. 45 Camilleri, Andrea, 147, 148 Crescentini, Carolina, 25 Canova, Gianni, 27, 48, 176n. 6, Cupellini, Claudio, 15, 45 176n. 8, 196n. 31 Caos calmo (Quiet Chaos), 16, 69, D’Agostini, Paolo, 12, 183n. 27, 70, 71, 72, 73, 76–7, 79, 91, 191n. 18 180n. 1, 180n. 4 De Biasio, Anna, 167n. 4, 168n. 5 Capotondi, Cristiana, 25, 167n. 1, De Capitani, Elio, 157, 160 171n. 4 De Cataldo, Giancarlo, 17, 98, 104, Carlson, Marvin, 196n. 27 113, 114, 192n. 35 Carroll, Hamilton, 7, 9, 187n. 27 De Cordova, Richard, 82, 170n. 31 Casetti, Francesco, 24, 25, 46, De Gaetano, Roberto, 153–4, 159, 192n. 30 160, 197n. 36 Casino, 104 De Luigi, Fabio, 47, 167n. 1 index 225

De Maria, Renato, 18, 139, 141–7, Ferrari, Isabella, 133, 184n. 35 160, 189n. 4 film noir, 70 De Niro, Robert, 58, 84, 182n. 20 Fischer, Lucy, 54, 109 De Pascalis, Ilaria, 46, 48, 51, 176n. 1 Flannery, Denis, 126 De Sica, Christian, 11, 167n. 1 Forgacs, David, 119, 124, 125, 128 Deer Hunter, The, 57, 58–9 Foucault, Michel, 5, 70, 77, 78, 120 Deleyto, Celestino, 49 Fullwood, Natalie, 67, 177n. 11 Delon, Alain, 127, 195n. 17 Deriu, Marco, 77, 80, 81 Galassi, Monica, 25, 172n. 19 Di Chiara, Francesco, 122 Gassman, Alessandro, 37, 72, DiCaprio, Leonardo, 24, 30, 174n. 36 174n. 34 divo, Il, 19, 139, 141, 153–7, 161, Gassman, Vittorio, 12, 170n. 27 162, 186n. 16, 193n. 2, 193n. Genovese, Paolo, 45, 47, 176n. 2 3, 199n. 57 Geraghty, Christine, 83, 154, Divorzio all’italiana (Divorce, 182n. 19, 196n. 26 Italian Style), 135, 193n. 41 Gerini, Claudia, 167n. 1 Doane, Mary Ann, 73, 85, 130 Germano, Elio, 1, 12, 16, 18, 70, dolce vita, La, 65–6, 164, 193n. 41 72, 83–6, 98, 118, 129, 134, D’Onofrio, Emanuele, 130, 192n. 31 183n. 26, 187n. 31 Drake, Philip, 12, 83, 84, 107 in La nostra vita, 16, 70, 72, 83–6 Duncan, Derek, 37, 131, 136, in Mio fratello è figlio unico, 18, 169n. 25 118, 129, 134 Dyer, Richard, 11, 30, 42, 106, Giallini, Marco, 50 182n. 20 Ginsborg, Paul, 136 Giordana, Marco Tullio, 17, 18, 117, Edelman, Lee, 128 119, 130, 133, 173n. 3, 189n. 4, Edwards, Timothy, 4, 39 189n. 7, 190n. 10, 191n. 22 Elsaesser, Thomas, 183n. 28 Gledhill, Christine, 58–9 Ex, 60, 171n. 2 Godfather, The, 98 Golino, Valeria, 79, 175n. 48 Faccia d’angelo (Angel Face), Goodfellas, 98 187n. 31 grande bellezza, La (The Great Fagiani, Maria Luisa, 174n. 39 Beauty), 163–4 Fatti della Banda della grande sogno, Il (The Big Dream), Magliana, 185n. 9 18, 117, 118, 125, 128, 130, Favino, Pierfrancesco, 1, 2, 12, 134–6, 142, 154, 174n. 30, 37, 47, 50, 55, 90, 98, 99, 188n. 2, 189n. 7, 193n. 38 170n. 30, 170n. 33, Grimaldi, Aurelio, 16, 69, 177n. 13 174n. 34, 180n. 3 Gubitosi, Giuseppe, 10–11 Federici, Alessio Maria, 45 Gundle, Stephen, 2, 5, 13, 167n. 2, Fellini, Federico, 65–6, 163, 170n. 27 190n. 17, 199n. 57 Günsberg, Maggie, 11 Femmine contro maschi (Women Against Men), 15, 45, 50–1, Hagin, Boaz, 92, 184n. 36 61–2, 64, 171n. 2, 176n. 2, Halberstam, Judith, 42, 169n. 22, 176n. 7 169n. 26, 173n. 28, 181n. 10 226 Index

Handyside, Fiona, 101 Kleinhoff Hotel, 133 Harwood, Sarah, 54, 80 Kramer vs. Kramer, 79, 180n. 8 Higson, Andrew, 82–3 Kristeva, Julia, 69, 78, 109, 112 Hipkins, Danielle, 13, 39–40, 60, 127, 169n. 16, 171n. 10, Labelle, 107 173n. 28 ladro di bambini, Il (The Stolen Ho voglia di te (film) (I Want You), Children), 121, 189n. 4, 15, 23, 25, 27–9, 31, 143, 190n. 9 170n. 1 Landy, Marcia, 12, 170n. 27 lucchetti, 32–3, 172n. 19 laureati, I (The Graduates), reception of, 31–3 57–8, 59 Ho voglia di te (novel), 25, 171n. 9 Lenzi, Umberto, 185n. 3, 188n. 33 Holdaway, Dom, 169n. 21, 197n. 33 Lezioni di cioccolato 2 (Chocolate homosocial masculinity. See Lessons 2), 45, 63–5, 179n. 36 masculinity Lezioni di cioccolato (Chocolate Hope, William, 49, 143, 180n. 4 Lessons), 15, 45, 61, 62–5, Hughes-Warrington, Marnie, 140 179n. 32 hysteria. See masculinity Littizzetto, Luciana, 51, 177n. 16 Lizzani, Carlo, 133, 185n. 7, Iago, 43, 175n. 46 187n. 22 Immaturi (The Immature), 45, Lo Cascio, Luigi, 18, 19, 118, 127, 47, 55–6, 176n. 2, 176n. 7, 170n. 29, 170n. 30 177n. 16 Lollobrigida, Gina, 2, 167n. 2, Immaturi: il viaggio (The 170n. 27 Immature: the Holiday), Lombardi, Giancarlo, 114, 131, 47, 56, 176n. 7, 178n. 24 192n. 34, 193n. 1 Indagine su un cittadino al di sopra Lombardo Radice, Marco, 3–4 di ogni sospetto (Investigation Loren, Sophia, 2, 167n. 2, 170n. 27 of a Citizen Above Suspicion), Luchetti, Daniele, 16, 17, 35, 69, 71, 159 84–6, 117, 119, 143, 158, inetto, 11, 65–6, 180n. 3 173n. 30, 177n. 13, 189n. 4, Insegno, Pino, 35 190n. 10 Lucini, Luca, 15, 23, 45, 179n. 32 Jedlowski, Paolo, 167n. 5 Lury, Karen, 88, 184n. 29 Jeffers McDonald, Tamar, 46 Jenkins, Henry, 32, 48, 71 MacKinnon, Kenneth, 26, 40–1, Jensen, Joli, 30 175n. 42 Maïga, Aïssa, 65 Kalinak, Kathryn, 187n. 23 male melodrama, 58–9, 70–2, 74, Kaplan, E. Ann, 56, 181n. 8 159, 163, 165 Kegan Gardiner, Judith, 6, 44, Malloy, Eileen, 180n. 8 169n. 19 mammo, 16, 54, 80, 181n. 9 Kimmel, Michael, 60, 168n. 8 Manuale d’amore (The Manual of King, Barry, 18, 146, 161 Love), 35, 46 King, Geoff, 46, 51, 176n. 1, Manzoli, Giacomo, 11 198n. 56 Marchioni, Vinicio, 98 index 227

Marcorè, Neri, 64 melodrama, 1, 14, 16, 17, 46, 69, Marcus, Millicent, 101, 119, 136, 79, 82, 87, 88, 90, 92–3, 121, 140, 153, 155, 162, 197n. 33 123, 124, 126, 130 Marini-Maio, Nicoletta, 193n. 1, See also male melodrama 198n. 46 Menarini, Roy, 99–100, 142, 154, Marlow-Mann, Alex, 153, 197n. 33 158, 196n. 31 Martani, Marco, 24, 171n. 2, Mery per sempre (Forever Mery), 176n. 2 121, 189n. 4 Maschi contro femmine (Men Against metrosexual, 5, 38–40, 174n. 39 Women), 15, 45, 53, 171n. 2, Mezzadra, Sandro, 179n. 31 176n. 2, 176n. 7, 177n. 16, Mezzogiorno, Giovanna, 142–3, 177n. 17, 177n. 18 146, 147, 170n. 30, 194n. 10, Maschi Selvatici group, 4, 182n. 16 194n. 11 Maschile Plurale, 4, 81, 181n. 12 Micciché, Lino, 122–3 masculinity middlebrow, 17, 35, 37, 43, 117–25, as abjection, 63, 69–70, 105, 130, 132, 135, 136, 158 109, 112, 114 Milano odia: la polizia non può and feminization, 5–7, 14, 17, 41, sparare (Almost Human), 44, 50, 52, 54, 61, 69, 73, 75, 188n. 33 80, 97, 109, 174n. 39 Miller’s Crossing, 104 and the homosocial, 1, 8, 15, Mine vaganti (Loose Cannons), 31, 16, 17, 18, 34, 39, 45, 46, 36, 172n. 15, 174n. 30, 50–1, 54, 56–7, 58–9, 62, 174n. 34, 175n. 45 77, 82, 101–3, 107, 108, Mio fratello è figlio unico (My 111, 112, 115, 117, 118, Brother Is an Only Child), 121, 125–8, 134, 136, 137, 17, 18, 30, 36, 117, 118, 121, 165, 178n. 22, 179n. 36, 125–9, 130, 131, 134, 142, 196n. 23 143, 173n. 30, 188n. 2, and hysteria, 55, 59–61, 82, 99, 189n. 4 109, 163 mio miglior nemico, Il (My Best and melancholy, 27, 74, 93, Enemy), 24 102–3, 115, 164, 180n. 6 Mitchell, Juliet, 126, 133, 193n. 39 Masoero, Francesca, 24, 32, 35 Moccia, Federico, 15, 23, 25–35, Mastrandrea, Valerio, 92, 184n. 37 36, 45, 142, 171n. 9, 173n. 21 Mastroianni, Marcello, 11, 12, 65–6, Modleski, Tania, 7, 74, 112, 178n. 19, 135, 136, 164, 170n. 27, 180n. 2, 180n. 3, 180n. 6 170n. 29, 170n. 34, 178n. 21, Montanari, Francesco, 98, 99, 110 187n. 28, 193n. 41 Morace, Alessandro, 71, 87–8 Matthews, Nicole, 49, 53, 55 Moretti, Nanni, 16, 19, 72, 91–2, McDonald, Paul, 99, 174n. 36 139, 157–61 McRuer, Robert, 115 Moro, Aldo, 107, 109, 154, 155–7, Medhurst, Andy, 47, 48 158, 186n. 16, 193n. 1 meglio gioventù, La (The Best of Morreale, Emiliano, 113, 158, Youth), 17, 18, 117, 118, 119, 178n. 24 121, 123, 124, 125–30, 131, Movimento Maschile Italiano, 81–2 189n. 4, 193n. 2 Muccino, Gabriele, 15, 43, 45, 53 228 Index

Muccino, Silvio, 12, 15, 23–4, 25, Passerini, Luisa, 193n. 40 43, 175n. 48 Pattinson, Robert, 24 Mussgnug, Florian, 124 Peberdy, Donna, 38, 170n. 35 Pennacchi, Antonio, 123 Napolitano, Giorgio, 49 Peraino, Judith, 105–6 Naremore, James, 16, 82, 197n. 41 Perriam, Chris, 13 Nazzari, Amedeo, 10, 170n. 27 Petraglia, Sandro, 98, 117–21, 125, Neale, Steve, 41, 46, 90, 108, 128, 130, 136, 142, 143, 145, 180n. 2, 194n. 4 160, 194n. 12 Neorealism, 24, 48, 71, 84, 90, Petri, Elio, 71, 159 121, 180n. 4, 183n. 22, Pieraccioni, Leonardo, 24, 57–8 184n. 30 Placido, Michele, 1, 18, 30, 35, 47, Neo-neorealism, 71, 121, 97–116, 117, 118, 119, 136, 183n. 22, 190n. 11 139, 148–50, 152, 157–9, 160, Nigro, Filippo, 50 164, 189n. 4, 189n. 7 Nixon, Sean, 13 poliziesco, 17, 187n. 22, 188n. 33 nostra vita, La (Our Life), 16, 69, Posti in piedi in paradiso (A Flat 70, 72, 73–6, 78, 79, 83–6, 87, for Three), 15, 45, 47, 49–50, 180n. 4, 189n. 6, 192n. 28 51–3, 54, 60, 176n. 7 Notte prima degli esami (Night Preziosi, Alessandro, 174n. 34 Before the Exam), 24, 35, 43, Prieto, Luis, 15, 23, 27 56, 171n. 2, 178n. 24 prima linea, La (The Front Line), Novecento (1900), 119, 127 18, 33, 99, 139, 141–7, 148, Nowell-Smith, Geoffrey, 59, 167n. 3 149, 151, 155, 161, 162, 188n. 3, 189n. 4, 193n. 3 Occhipinti, Andrea, 143, 144 controversy around, 141–4, 147, O’Healy, Áine, 65–6, 75 161, 162, 193n. 3 O’Leary, Alan, 11, 63–4, 110, 124, Proietti, Fabiana, 98 130, 131, 133, 140, 146, Propizio, Vittorio Emanuele, 129 156–7, 158, 178n. 25, Proposal, The, 38 187n. 29, 193n. 1, 194n. 5 Prova a volare (Try to Fly), 36 Ordinary People, 79, 180n. 3 Puar, Jasbir, 193n. 36 Orlando, Silvio, 60, 157–60 pugni in tasca, I (Fists in the Outing—fidanzati per sbaglio Pocket), 135 (Outing—Boyfriends by Accident), 43 Quo vadis, baby?, 169n. 23 Özpetek, Ferzan, 31, 35, 36–7, 174n. 30, 175n. 45 Reeser, Todd, 169n. 22 Rehling, Nicola, 7, 9–10 Parissi, Monica, 98–9, 187n. 22 Reich, Jacqueline, 11, 65, 170n. 34 Parlami d’amore (Talk to Me About Renga, Dana, 56 Love), 43 Rigoletto, Sergio, 51–2, 67 Parotto, Giuliana, 168n. 13, 197n. 45 Risé, Claudio, 4 Pasolini, Pier Paolo, 101, 123, Risi, Marco, 120, 189n. 4 186n. 17, 189n. 4, 190n. 17, Robertson Wojcik, Pamela, 91, 191n. 19 170n. 31 index 229

Robinson, Sally, 7–9, 108 Scamarcio, Riccardo, 1, 2, 12, 13, Rocco e i suoi fratelli (Rocco and his 15, 18, 23–44, 98, 100, 111, Brothers), 119, 124, 126–7, 118, 125, 128, 133–6, 139, 191n. 19, 191n. 25 142–3, 145, 146–7, 154, 158, Roja, Alessandro, 98 161, 164, 170n. 33, 189n. 3, Romanzo criminale (film), 1, 2, 17, 194n. 6, 194n. 11 30, 47, 56, 97–115, 118, 125, in Ho voglia di te, 15, 27–9, 34 127, 131, 141, 142, 149, 150, in Il grande sogno, 18, 118, 152, 163, 173n. 30, 183n. 134–6, 142, 164 27, 188n. 2, 188n. 3, 189n. 4, in La prima linea, 18, 33, 139, 193n. 2, 195n. 20 141–4, 145, 147, 161, 194n. 11 Romanzo criminale (novel), 17, 98, in L’uomo perfetto, 15, 23, 35–44 100, 104, 113, 114 in Mio fratello è figlio unico, 18, Romanzo criminale: la serie, 17, 118, 134, 142, 143 97–115, 131, 149 as teen heartthrob, 15, 18, 23–4, Rosi, Francesco, 71, 119, 198n. 51 30–2, 35–7, 43, 142–3, 161, 164 Rosin, Hanna, 4 in Tre metri sopra il cielo, 15, Ross, Charlotte, 2, 3 25–7, 33, 34 Rossanda, Rossana, 132 Scarface, 98 Rossi, Andrea, 76, 89, 90–1 Schillaci, Totò, 56 Rossi Stuart, Kim, 1, 2, 12, 16, 18, Scorsese, Martin, 6, 104, 185n. 1 69, 72, 74, 76, 86–9, 91, 100, Scusa ma ti voglio sposare (Sorry, But 110–11, 115, 139, 147, 148–9, I Want To Marry You), 15, 45, 150–2, 154, 161, 174n. 39, 50, 54–5, 60, 176n. 7 179n. 1, 185n. 7, 188n. 31 Sedgwick, Eve Kosofsky, 6, 8, in Anche libero va bene, 16, 69, 125–6, 127 72, 76, 87–8, 183n. 27, Segio, Sergio, 18, 19, 37, 139, 141–7 196n. 26 Segre, Stefano, 3–4 in Le chiavi di casa, 16, 74, 76, Segreti segreti (Secret Secrets), 131, 133 88–91, 179n. 1, 183n. 27 Seiter, Ellen, 79–80 in Romanzo criminale, 1, 2, 100, Servillo, Toni, 12, 19, 139, 110–12, 152, 183n. 27, 188n. 31 153–7, 164, 170n. 30 in Vallanzasca, 18, 139, 147, Shapi, Hassani, 62, 179n. 32 148–9, 150–2, 161, 185n. 7 Showalter, Elaine, 60–1 Rossi, Vasco, 75, 85, 89, 102 Siani, Alessandro, 167n. 1 Rowe, Kathleen, 46, 180n. 6 Sisco King, Claire, 186n. 15, Rulli, Marco, 35 187n. 27, 188n. 32 Rulli, Stefano, 98, 117–21, 125, Solfrizzi, Emilio, 51, 62 128, 130, 136, 160 Sollima, Stefano, 47, 97 Rumble Fish, 26 Solo un padre (Just a Father), 45, Ruspini, Elisabetta, 6, 73, 80, 53, 54, 177n. 18 182n. 17 Solomon-Godeau, Abigail, 165, 168n. 9, 168n. 15 Sansa, Maya, 132 Sordi, Alberto, 12, 170n. 27, 170n. 28 Santamaria, Claudio, 1, 2, 12, 53, 98 Sorrentino, Paolo, 19, 139, 153, Savran, David, 9, 186n. 14 154, 160, 163–4 230 Index

Staiger, Janet, 70 controversy around, 99, 139, Stewart, Amii, 105 141, 147–9, 161, 162, 194n. 3, Sylvester (singer), 105–6 195n. 20 Valli, Frankie, 45, 56, 59 tainted heritage, 56, 140 Van Fuqua, Joy, 112, 180n. 2 Tarantino, Quentin, 106, 108, Vaporidis, Nicolas, 15, 23–4, 25, 199n. 57 37, 43, 175n. 45, 175n. 46, teen films, 1, 14–15, 23, 24–5 175n. 47, 177n. 17 Ti amo in tutte le lingue del Vaudagna, Maurizio, 168n. 5 mondo (I Love You in All the Verdone, Carlo, 12, 15, 24, 45, Languages of the World), 24 49–53, 167n. 1, 177n. 12 Ti presento un amico (Let Me Veronesi, Giovanni, 35, 43, 57, Introduce My Friend), 177n. 16 174n. 30 Ti stramo: Ho voglia di un’ultima Verso l’Eden (Eden is West), 174n. notte da manuale prima di tre 30, 175n. 43 baci sopra il cielo (I’m Crazy Virzì, Paolo, 60, 160 For You: I Want a Last Night Visconti, Chicca, 171n. 8 from the Manual Before Three Visconti, Luchino, 119, 126, Kisses Above the Sky), 35 184n. 29, 191n. 19 Tincknell, Estella, 107 Vite in sospeso (Suspended Lives), Titanic, 30 131, 132–3 Totò, 12, 170n. 27, 170n. 28 Viva Zapatero!, 160 Tre fratelli (Three Brothers), 119, Volo, Fabio, 65–6 127, 131 Volonté, Gian Maria, 154, 157, Tre metri sopra il cielo (film) (Three 158–9, 170n. 29, 170n. 31, Metres Above the Sky), 15, 185n. 7, 197n. 38, 198n. 51, 23, 24–35, 174n. 30 198n. 52 Tre metri sopra il cielo (novel), 25 Trinca, Jasmine, 18, 111, 118, 157 Walken, Christopher, 58 Twilight films, 172n. 16 Walser, Robert, 50 Walsh, Fintan, 4, 8, 115, 169n. 20 ultimo bacio, L’ (The Last Kiss), 35. White Heat, 109 43, 53, 56 Whitehead, Stephen, 2, 4 Uomini3000 organization, 81, 82 Williams, Linda, 70–1, 72 Uomini Casalinghi association, 54, 81 Wood, Mary, 10–11, 71, 119, 122, uomo che ama, L’ (The Man Who 167n. 3, 170n. 27 Loves), 180n. 3 Woolf, Virginia, 121, 122, 190n. 14, uomo perfetto, L’ (The Perfect Man), 191n. 20 15, 35, 37–42, 44 Uva, Christian, 140 Zagarrio, Vito, 25, 26, 121, 176n. 3, 180n. 4 Vallanzasca: gli angeli del male Zalone, Checco, 61, 167n. 1, 176n. 8, (Angels of Evil), 18, 99, 139, 179n. 33 141, 147–53, 154, 161, 162, Zavattiero, Carlotta, 81 185n. 7, 194n. 3 Zonta, Dario, 87, 149