Bronze Screen Dream

Ettore Scola, an Italian director and screenwriter, is highly regarded for his ability to blend social and political commentary with evocative storytelling. Best known for films like Ugly, Dirty and Bad and We All Loved Each Other So Much, Scola’s narratives are memorable for their wit, satire, and profound exploration of human relationships. Scola is also known for his unique blend of drama and comedy, making his work a poignant exploration of life’s absurdities and tragedies.

Before launching his directorial career, Scola honed his storytelling skills as a screenwriter, which laid the foundation for his character-driven narratives. He often drew from Italian historical contexts, reflecting different periods in Italy’s history and their impact on its people, as exemplified in films like A Special Day and The Family. His knack for eliciting powerful performances from his actors was another highlight of his career, notably his frequent collaborations with Marcello Mastroianni and Sophia Loren.

Scola’s approach to filmmaking was characterised by a strong focus on visual aesthetics. With a keen eye for composition, colour, and lighting, Scola created films that were as visually arresting as they were emotionally resonant. This visual style went hand in hand with his narratives, amplifying the emotional tone of his stories. While often humorous, his narratives contained a depth and complexity that highlighted the intricacies of human relationships and societal norms.

Scola’s contribution to the genre of social and political satire genre, combined with his distinctive blend of drama and comedy, has influenced generations of filmmakers. His films’ distinctive visual style and his ability to extract moving performances from his actors have also left a lasting impact. Moreover, his nuanced portrayal of Italian history through a personal lens offered audiences worldwide a unique perspective into the country’s cultural and societal evolution.

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Ettore Scola’s Top 10 Films Ranked

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Ettore Scola: Something to Laugh About, Something to Cry About

Ettore Scola, an Italian director born in Trevico, a small town in Campania, had this uncanny ability to sincerely mock the everyday. In an era where Italian cinema was undergoing seismic changes, shifting from the exuberance of the post-war period to a deeper introspection of society, Scola emerged, fusing political commentary with deeply humane narratives.

While the rest of Europe was intoxicated by the lavish glamour of Hollywood, Italy’s neo-realism, with legends like Rossellini and De Sica, dared to portray an ungarnished reality, the harshness of life without any veneer. Scola, growing up witnessing the ravages of the Second World War and the subsequent reconstruction, was deeply affected by neo-realism. 

Educated at the San Marco University in Rome, Scola’s formative years were marked not just by academic rigour but by a deep engagement with the tumultuous politics of mid-century Italy, a devotee to left-wing politics, something that is reflected in his art. But soon, the magnetic pull of cinema proved irresistible. By his early twenties, he was already penning scripts, infusing them with his characteristic touch – a mix of wit, warmth, and wistfulness.

Before sitting in the director’s chair, Scola established himself as a formidable scriptwriter. His contributions to the Italian silver screen during the 1950s and 60s, especially with comedy directors like Dino Risi, added a layer of introspective depth to the genre. 

By the late 1960s, Scola had made his directorial debut with Let’s Talk About Women. The film, an anthology of tales centred around women, not only announced Scola’s directorial arrival but also hinted at what was to come. The film displayed Scola’s classic ability to peel back layers, unveiling emotions and societal pressures. 

From this foundation, Ettore Scola embarked on a cinematic journey to redefine Italian cinema in the 1970s. With We All Loved Each Other So Much, he wove a narrative tapestry that captured Italy’s political and cultural transformations from the 1940s to the 1970s. The film wasn’t straightforward and was deeply Italian, portraying the friendships, betrayals, and the indomitable spirit of a nation recovering from war’s devastation.

Ugly, Dirty and Bad, another one of his masterpieces from this era, showcased Scola’s unique ability to blend dark comedy with poignant social commentary. Set in the slums of Rome, it delved into the lives of its inhabitants, revealing their dreams, despairs, and desires with unflinching honesty. It was Scola’s way of reminding audiences that beauty, ambition, and humanity existed even in the most neglected corners.

However, A Special Day in 1977, starring Marcello Mastroianni and Sophia Loren, would be his masterpiece. Set against the backdrop of Hitler’s visit to Rome in 1938, the film explored the fleeting yet profound connection between two lonely souls. Scola subtly challenges the nation’s response to fascism, offering an obvious comparison to Italy’s contemporary Years of Lead. 

By the end of the 1970s, Ettore Scola had firmly established within Italy. Admittedly, he would never be seen on the same level as Fellini or De Sica, but he was a respected name and one of the last directors of his generation still putting out vital works. Scola had built a reputation for creating films that worked both as stories and mirrors to society. 

As the 1980s dawned, Scola’s cinema continued to evolve, mirroring the complexities of an ever-changing Italy. Yet, while the themes of his films varied, one constant remained: his unwavering commitment to capture the truth, no matter how bitter or joyous.

The decade opened with Passione d’Amore, a poignant exploration of obsessive love. Unlike the saccharine tales of romance dominating cinema, Scola’s version was deeply introspective, studying human frailties and desires. However, The Family in 1987 is arguably the best example of Scola’s particular style. Chronicling the life of a Roman family over several generations, the film was a microcosm of Italy itself, showcasing the societal, cultural, and political upheavals that shaped the nation.

In Captain Fracassa’s Journey, Scola transported audiences to the 17th century, spinning a tale of theatre troupes and duels, love and rivalry. While it was a departure from his contemporary settings, Scola’s touch remained evident. Every character had a depth that only Scola seemed capable of evoking. 

Ettore Scola’s versatility was his hallmark. Just when audiences thought they had him pegged, he would introduce a film so distinct it defied categorisation. From the satirical lens of The Dinner to the raw emotionality of Unfair Competition, Scola consistently demonstrated that he was no ordinary director. 

Scola has never been seen as one of the traditional great Italian directors; he was born too late, and his best movies were made when the shining lights of Italian cinema were starting to dull. Unlike almost all of his contemporaries, Scola never lost his lustre or lowered his standards. He remains underrated amongst critics and audiences but has always had ardent fans among directors like Pedro Almodovar and Francois Truffaut. 

From the bustling streets of Rome to the serene landscapes of Provence, Scola’s cinema continues to resonate. 

Most Underrated Film

As one of the ‘lesser’ filmmakers of Italian cinema, Scola’s filmography still hasn’t had a really deep retrospect. Generally, any commentary about his films is limited to a handful from the 1970s. However, his work didn’t get worse over time. He was the only major Italian auteur of his era who made great films consistently in the 80s. As such, I feel his most underrated is 1983’s Le Bal. It is a French-Italian production that offers us glimpses of five decades of French history, all within the confines of a single dance hall. 

Remarkably, the film does this without any spoken dialogue. Instead, Scola relies on dance, music, and nuanced physical performances to narrate the evolving socio-political landscape of France from the 1920s to the 1980s.

The film’s production was nothing short of ambitious. Crafting a narrative that spanned six decades without spoken words was a daring endeavour, and it required meticulous attention to detail in choreography, set design, and music selection. Each dance, each movement was meant to convey a specific emotion or societal change.

Despite Scola’s innovative approach, Le Bal never really found a home in the canon. Perhaps it was its lack of dialogue; perhaps the format was too restrictive. However, it seems odd that Scola’s movie is rarely discussed. This is a film that tells the story of an era in a way no other movie ever has. 

Ettore Scola: Themes and Style

Themes:

• Sociopolitical Commentary: Many of Scola’s films deal directly with the sociopolitical landscape of Italy. He often touched upon historical events, political shifts, and societal transformations, viewing them through the lens of personal narratives.
• Human Relationships: Whether exploring familial ties, romantic entanglements, or friendships, Scola had a keen interest in the dynamics of human connections, often set against broader societal changes.
• Class Dynamics: From the working class to the bourgeoisie, Scola’s films often explored class disparities, hinting at the societal tensions they produced.
• Historical Reconstructions: Scola frequently used history as a backdrop, employing it not merely for the setting but as a character in itself, influencing and directing the actions and beliefs of his protagonists.

Styles:

• Narrative Experimentation: Scola wasn’t afraid to break conventional storytelling modes. Films like Le Bal exemplify his willingness to tell stories without relying on spoken dialogue, using dance and music instead.
• Deep Characterization: Even in ensemble casts, Scola provided depth to his characters, ensuring they were fleshed out, multi-dimensional, and reflective of the times they lived in.
• Meticulous Set Design: His films, especially those spanning multiple decades like The Family, showcased detailed and historically accurate set designs to immerse viewers fully into the narrative’s era.
• Collaborative Efforts: Scola often collaborated with the same group of actors, crew, and co-writers, leading to a distinct, cohesive feel across his films.

Directorial Signature:

• Intimacy amidst Grand Narratives: Even when dealing with sweeping historical narratives, Scola’s focus remained on the individual. This juxtaposition of the personal against the grand made his films deeply relatable.
• Use of Music: Scola’s films often leaned heavily on music, not just as a background score but as an integral storytelling element, conveying emotions and time periods.
• Layered Storytelling: A single Scola film could be viewed from multiple angles—a personal story, a commentary on society, or a historical piece—making repeat viewings rewarding.
• Subtlety in Direction: Rather than overtly stating themes or moral stances, Scola employed subtlety, allowing viewers to draw their own conclusions and engage more deeply with the narrative.

Further Reading

Books:

1. The Cinema of Ettore Scola edited by Remi Lanzoni and Edward Bowen

Articles and Essays:

1. The Grotesque Loves of Jealousy, Italian Style(Ettore Scola, 1970) by Tiia Kelly, Senses of Cinema
2. ETTORE SCOLA by Silvia Gaia Marceli, Coeval Magazine
3. CREATIVITY AND VISUALITY OF CLOSED SPACES: THE CASE OF ETTORE SCOLA by Dario Martinelli, Creativity Studies

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