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Rating: Light years away from the complex socio-political metaphors of "Last Tango in Paris," Bernardo Bertolucci has (almost) always proven himself, first and foremost, as a great creator of human psychologies. This little gem, unfortunately still unknown to most: "The Tragedy of a Ridiculous Man," is no exception. A very small film, shot with few resources and with an almost surprising gift for synthesis (following "1900" and a few years before the Hollywood splendors of "The Last Emperor"). Yet, in its smallness, today, almost thirty years later (from 1981), it stands as what it is: a great film.
The protagonist of the film, the splendid Ugo Tognazzi (an artist never too often remembered), is indeed a ridiculous man, a petty, sordid businessman incapable of recognizing his own pathetic state of precarious pitiable self-destruction. Tognazzi plays Primo Spaggiari, an industrialist like many in the Bassa Padana. Some terrorists kidnap his son, demanding a billion lire for his release. Meanwhile, a disturbing rumor spreads: it seems the son has been found dead. Primo Spaggiari feels no compassion and attempts, taking advantage of the presumed death of his son, to save his business from imminent bankruptcy.
It was mentioned initially that Bertolucci is a great creator of human psychologies. Here we have a clear example. Spaggiari is a sort of slithering worm, a Padana industrialist with all the vices (many) and few virtues (very few) of all those who have struggled a lifetime to have a piece, even illusory, of happiness and who doesn't want to see his entire "masterpiece" disappear into nothingness, preferring to sacrifice the life of his beloved (?) son rather than return to the mediocrity in which he was born. Tognazzi masterfully crafts the psychology of this 'little man' with great acting mimicry, delving into the deepest recesses of human psychology to the point of hiding nothing from the viewer: the scam perpetrated against his son is cynical, hopeless, dark, and gloomy as mediocrity.
And then the setting, which is significant. The sad and gloomy landscape of Bassa Lombardy, foggy and worn out, populated by formerly-poor vulgar nouveau riche and farmers with faces worn from work and years, serves as the backdrop to the events of the ridiculous Primo Spaggiari. The figures around the protagonist are often frowning and gloomy, sometimes showing timid smiles of happiness on their faces, but then falling back, without telling or making you understand, into the most absolute sadness. Yet, everything seems so clear, so bright, but it's just an appearance; behind this, there is a great job on photography, brilliantly impressed by the master Carlo Di Palma (who will also work with Woody Allen in "September").
Some bursts of healthy entertainment appear here and there, but only for a moment, a calm before the storm. To be fair, there is also a hot topic at the core: terrorism. One year after the bloody attack at the Bologna station, Bertolucci seems to want to reflect on the human drift that is plaguing Italy. Among the many merits of the film, however, there are some perhaps avoidable flaws: this is one of them, as the theme of terrorism is indeed touched upon superficially, just as the script always seems about to give way only to revive almost surprisingly. It should be noted that the screenplay is entirely the work of Bernardo Bertolucci alone, who usually always gets help from some big names.
However, one must mention a wonderful cast, full of faces and well-known names perfectly at ease in the roles of uncomfortable and unedifying characters: the great Vittorio Caprioli (his "Parigi, o cara" should be rediscovered), the Fellini-like Anouk Aimée, the young but already promising Laura Morante, the mythical Victor Cavallo (an institution in Rome, and his passing in 2000 caused enormous sorrow among his most ardent fans) and the extraordinary and brief participation of Don Backy. On the poster, Ugo Tognazzi looks into the distance with binoculars.
The film, after years of absurd obscurity, may have finally reached its destination. Perhaps.
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