Sixty years ago he left overtakinga masterpiece of Dino Reese with Vittorio Gasman And the Jean Louis Trentinant: a movie for which the adjective “iconic” is not used by chance.
Sorbasso is actually many things: the first road movie in cinema history, a clear and fluid snapshot of an Italy awash in economic miracle (represented and summed up by the free ranting of the Aurelia B24 convertible), a ruthless portrait of the irreducible vices of a still homophobic and racist society, A prophecy of a country ostensibly living above its means, and in fact running towards a valley (for some the enormous public debt of another even Tangentopoli), a fundamental turning point in Italian comedy (with a tragic and therefore unexpected ending that the producer did not like), first, a scathing reflection In a dysfunctional bourgeois Italian family, and even a novel coming from the point of view of the shy college student character is played by Trintignant (assuming that definition makes sense for the character who eventually dies).
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