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Rating:
"Il Compagno Don Camillo" is the last chapter of the famous films based on the works of Giovanni Guareschi, released in 1965. It is certainly not the best of the series, as it begins to be a bit repetitive and the various events start to seem predictable without the novelty effect of the first episodes. Despite more than a decade having passed since "Don Camillo," the characters do not seem to have aged a day. Nonetheless, it is still a brilliant, funny, and enjoyable comedy and undoubtedly provides good entertainment. Although they are now dated, this and the other episodes continue to fascinate a diverse and heterogeneous audience, enjoying considerable success even among the younger generations.
The direction of "Il Compagno Don Camillo" is entrusted to the talented Luigi Comencini. It is said he accepted to direct this film to pay off some debts. As always, the two charismatic lead actors Fernandel and Gino Cervi deliver an excellent performance, which adds value to the work. The superb performance of the French actor, in particular, in the dual role of Don Camillo and comrade Tarocci, stands out. The plot takes place partly in the now-famed Brescello and partly in a Russian village on the banks of the Don, even though all the filming was actually done in the Emilian countryside.
The various pranks and quarrels between the priest and the mayor reach their peak here, and are truly hilarious. One can cite, for example, Don Camillo locking Peppone in a trailer with a woman during an escapade, threatening to reveal it to his wife unless he accepted to let him join (in disguise) the trip to the Russian country with which Brescello was twinned, a twinning that had sparked great protests among Catholics, including a hunger strike by Don Camillo. The mayor will return the favor in the end, when, through a photo blackmail, he convinces the reverend to accompany him on a pilgrimage disguised as a priest. Another cunning trick is pulled by Don Camillo in Russia, when he leaves Peppone in the care of the Soviet health services after a heavy drinking session, despite being completely opposed to it.
The film also offers a historical representation of the period. The Cold War is indirectly mentioned, and it is no coincidence that the final pilgrimage has as its destination the United States, and especially highlights the period of Khrushchev's government, including his dismissal, which occurred precisely during those years. The fear of the group for the suspicion that the Russians might have discovered Don Camillo's true identity with possible consequences reflects the perception of the Soviet Union by some after Khrushchev's destalinization. There was great admiration on one side, but also great fear on the other. There are also more sad and melancholic moments in the film, which break the predominantly light and relaxed atmosphere. One of these is Brusco's (Peppone's comrade) visit to his brother's grave, who died during the Russian campaign in the Second World War, another is the confession facilitated by Don Camillo of a dying woman by a hidden Orthodox priest, who was hiding for fear of being persecuted by the regime.
I believe that by the end of the viewing, the audience has no reason to be disappointed.
It must be said that by 1971 the next chapter, "Don Camillo E I Giovani d'Oggi," was almost completed, but Fernandel fell seriously ill and died within a few months. Gino Cervi refused to work without him, and thus the film remained unfinished. It was released in 1972 with a general change of actors, including Gastone Moschin in the role of Don Camillo, but it was a disaster, as it was nothing but a very faded copy of the inimitable original episodes.
Ultimately, it deserves a good opinion (in my opinion, also for the emotions and memories that connect me to this film), especially considering the fact that in the future, such beautiful, sober, and genuine comedies would become increasingly rare.
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