supersoul

So, in the case of "Uccellacci e Uccellini," as well as in "Accadde una notte," (this connection seems incredible, right Poletti?), the road becomes the stage where society displays all of its figures, which can be grotesque or tragic. In this perspective, the road is a MEANS that shows us things that society would otherwise keep hidden, and in these comedies, the characters achieve what they were searching for and could not find in the normal dimension. In the road movie, on the other hand, the road takes on a critical importance of its own, which even questions the protagonist's belonging to society as it is constituted, and in fact, in the end, almost always, they die or at least do NOT achieve the goals for which they set out.

So even "Tutti a casa" by Comencini and "La vacanza" by Tinto Brass are road movies... Occulto said it well, the premises are the journey as a story and the road as a support to the story, but it's pointless to insist, the true road movie is from the USA, stemming from the great frontier, from Whitman. To all those who mindlessly repeat that "Il sorpasso" is a road movie, I would like to point out that there are two good reviews which, in identifying the genre, both write: comedy, drama. I wonder why when it came time to choose the boxes provided by Debaser, they didn't click on road movie.

As for the question marks, they were only meant to add effect to the review. Poletti... damn it... Poletti, don’t waste time unnecessarily...

Poletti, I'm sorry, but you still don't WANT to understand. The reference to the myths of the past is not a contradiction. Hopper/Fonda/Terry Southern are telling you that the conformist and reactionary America of the assassination of Martin Luther King, Bob Kennedy, and the end of the summer of love with the Altamont incident has BETRAYED them. They loved that America made of frontier and freedom; their journey is a journey back in time, compared to the go west! of the past, precisely to rediscover that spirit lost along the way.

Gassman/Bruno is not a misfit; he fully embraces the optimism of the Italian economic boom and revels in it. The road for him is not a means of escape: it serves to demonstrate that with his Aurelia Sport, he can remove the obstacles (other cars) that stand between him and full entry into economic well-being.

I saw them live this summer and I confirm the impression of being quite polished; their early albums, especially "Everyday" rather than "Man with a movie camera," had made me overestimate them...

You're wrong, the first road movie in the history of cinema is "How I Won the War" by Buster Keaton, but for crying out loud, how can I say that Easy Rider is a watershed moment? Because in all the road movies that preceded it, some names? Detour, Fury, The Red River, The Overtaking, Gangster Story, the road is a secondary element; it's the setting where the story takes place. From Easy Rider onwards, the road (Point Zero, Two-lane Blacktop, Electra-glide, The Young Rage, Thelma & Louise, Beautiful and Damned) becomes a means of escape, the parallel universe to conformist and authoritarian society, THROUGH which to affirm one's existence.

and I don't even ask you to account for who legitimized the road movie, I already know you're going to bring up "It Happened One Night," which as usual has nothing to do with the point I was making about the road as a protagonist and not just a mere "theater"...

Poletti, the problem is that you're missing a few neurons; you'd fit right in at the Processo di Biscardi, spouting nonsense just to boost the ratings. I was talking about Hollywood, not Italy—"Rebel Without a Cause" has nothing to do with it. Nicholson had retired as an actor due to his poor successes and wanted to be a screenwriter; he had to be convinced by William Hayward, who was the associate producer of Easy Rider (not to mention Dennis Hopper's brother-in-law). If you somehow enjoy watching Scorsese, Coppola, and De Palma today, you have the stratospheric success of Easy Rider to thank.

Thank you all for the contributions and compliments on the review. I know it's a duplicate, but I made it because I had something different to say from the banal interpretation based on supermoto, drugs, and cheap hippie culture. The film isn’t a masterpiece when compared to “A Clockwork Orange” or “Citizen Kane,” but it’s a TURNING POINT; it changed the way films are made, gentlemen… It’s the first independent film made with little money and with people taken from the streets, distributed by a major studio. It’s a film that overturns the concept of the road movie because the space around the protagonists is no longer just a “topographical” place but part of the narrative to the point of being among the protagonists. It’s a film—I would dare to say “neorealistic”—that doesn’t require revolutionary direction to make an “impact.” Today, as we sink our soft behinds into sofas bought on the weekend at IKEA, jostling with thousands of people, we consider it "rightly" aged, as the good Poletti says, giving it a solid two. Well, a film like “Il sorpasso” doesn’t have an excellent direction; the screenplay was cobbled together day by day, and even the scenes in Rome were filmed with a stand-in because Trintignant had yet to arrive from France. But we Italians would never dream of giving it a 2 and saying it's outdated, too tied to the period in which it was made, and we would surely tell any foreigner who, seeing it today, said it hasn’t aged well to go to hell. Myths do not age.
Reflect on this, people like Poletti (who prefaced with “there's no need for me to speak” and then rambles on anyway…) reflect…