Original Title : It Sorpasso
French Title: The Fanfaron Year: 1962 Country: Italy
Type: Drama - Duration: 1:45 Director: Dino Risi
With 
Vittorio Gassman (Bruno Cortona), Jean -Louis Trintignant (Roberto Mariani) Catherine Spaak (Lilly Cortona), Claudio Gora (Bibi), Luciana Angiolillo (Bruno's wife) ... Entertain and stir article Francis Bégaudeau
appeared in Le Monde of 20/3/2005
Several ways to identify the opposition of character The fact Fanfaron 
honey. One is Jean-Louis Trintignant the other Vittorio Gassman . One is as good as gold, the other as an insatiable frame. One is right, the other has them all. The other is smoking, one not. And tutti quanti. To save himself this bit dizzy, he would not say one thing, bringing all the pairs of contrary concepts to one: Roberto - Trintignant was a voiceover, Bruno Gassman not. Symptom of what radical Roberto maintains life around with the distance of about one-in-itself, when Bruno flows without qualms in the deep outside. Man without a home without indoor, man-car absolutely present in the environment. Antennae erect, always alert, watching everything and watching. Calling the office of Bruno , his eyes do not let anything pass: "Who is the chubby then the picture? " "What's that, civil law, right? " Nothing that takes place within a short range is foreign to him, calling each time a comment, a joke, an expedited evaluation - " nice bathroom. "
Bruno
maintains a Pavlovian-type report with reality. This is one thing, and she immediately stimulates a reaction. A boat siren is heard in the distance, and, mechanically, in the middle of a sentence unrelated: "One of these days I start. "More than a reflex redneck, horn is like the buzzer of these recurrent connections with the surrounding, sometimes relayed by a speech in the wake dispatched to make contact, even a summary and unilateral. Family packed into a car fortune
"Well, the grandfather, you left home? "Cycling
the sentence:
" You want a Vespa? " 
Like St. Francis Bird, Bruno even talk to trees that avoids swerved: " Thou hast escaped. "Interesting inversion, since here a "I dodged a" was expected. Because in the world Bruno, the two statements are equivalent, being the outside as an extension of himself. Proof, it never ceases to touch as he scratched his thigh. Apples on the table? It takes one and the undertaker. Bottle of perfume in the bedroom of his wife? He would pass a drop in the neck. Everything belongs to him and he belongs to all. The contract that binds him to the world is a condominium. No wonder the streets deserted August 15 him "fuck the blues" : if the world is empty, it is nothing. In sum, neorealism continues here through other means. This time it is the entire player, not a single glance doubling that of the camera, which was requisitioned to create the link with the objective world. Launched in the wake of his convertible, The Fanfaron would be a trip to Italy in fast. More concrete, more tactile, more hanging on the tar, a journey with squealing tires. Consequently, less seriously reaching for a revelation.
The real, which in Rossellini is won after a long pilgrimage, here is always already within reach of wandering hands of Bruno
, gathered in its register but not secular epiphany, multiple impure. Italian comedy and frivolously reap the fruits of efforts by his austere predecessors. They tracked down the real Risi them frolic, through an Italy swaying with delight by the twist, crowded beaches lined with girls in swimsuits. In short, an Italy on the crest of modernity both cool and ridiculous the 1960 beginners. Bruno is the same product time as the incarnation of outraged this country, and there is no memory. " Etruscan tombs," he said, I put them ... "
From him, we know that the presence, the sum of the actions committed here and now.
The Fanfaron
was only joy and spins, we would like to do no less.
Archive The Cahiers du Cinema, 1963
In 1963
in the "Cahiers du Cinema , Michel Delahaye explained that with" The
Fanfaron
"Dino Risi was able to draw on the legacy of
Anto
deny to produce a work both deep and shallow.
The Fanfaron ( It Sorpasso ) is a surface film, which you touch the surface but leaves tickle deep. Risi was, say, a doctor, he is always there practicing acupuncture. is a man who appreciates the gravity of a body and the radiation field of a nerve and that, contrary to the proverb (To mark a scary truth), it is perfectly possible to judge people on the mine. He knows how to play the clash of people and things, what makes organizations matcher them or not, to use an Americanism that is necessary, as regards the very American field behavior, major in film but excluding America, was only a few exceptions, they are badly or too theoretically explored.
Former initiating the stripling gestures adventurous life, that is, among other things, a major reason the saga westernienne ( Tin Star or The Man Without a Star
). But if one adds that the youngster (studious, tidy, bookish), initiated what he is not fit to live, feels perpetually overwhelmed, then we approach the topic of
Cousins. Here it is less theoretical (but this was the great merit of Cousins as if to embody precisely the premise), with emphasis on the more organic and metaphysical destiny. (...)
Gassman here is the "winner", who moves with ease in the world of adventurous enjoyment, Trintignant, entailed by the loser the autosport, awesome object to which it fits poorly and who embodies the adventure he was dragged along, a stranger to his own genius, and we soon made sense that the outcome will be fatal. (...)
Trintignant dragged from his balance, projected into a universe whose foreignness is fascinated and worried, wondering where real life and if not wrong in leading his. The fall of the cliff is one answer to the problem. Another is given by the wife of Gassman (admirable immersed in the sphere of origin when the two men, to give purpose to their wanderings, they will seek refuge in their home port). For whom it is simply an unfortunate, an unlucky loser. Because it is "a failure" (to continue to talk "veho") that this kind of junk adventurer, stuck in the dirt of adolescent irresponsibility extended.
The way that the movie using the smallest declines of fate (the truck with the refrigerator) to help the meaning of being, we return (last but Italian reference) to Anto deny which Risi - already in Un amore a Roma , the dissatisfaction (!) - seems to be the only one who could (without cheating, epigonism or parody) make advantage of inheritance, inheriting especially the most immediate, the most superficial modernity antonionienne.
Risi , in fact, inherits the best, besides the beauty of the film has just what it is film of the first degree, superficial, but what makes Risi make all that superficiality can make, form depth. This means that the engine has excellent performance against that of a given that, in relation to the ambition and the excitement of research, found that less does Risi, scaffolded with a machine whose trees transmission hide the forest of first gear. Risi
beauty is the maximum for the minimum system. (...) It is the only one who knew perfectly complete the eternal project of Italian cinema (which it allows itself constantly diverting, fascinated by theoretical assumptions foreign to his genius own), made to realize, happily and naturally, the combination of time and aspirations of the art of time in their most fleeting and, beneath it, deeper. 
Makes thousand accidents which are a destiny, a place, an era of a thousand references that establish the coordinates (Risi and fired and stone unturned in painting manners holiday trips with dancing , jingles, singlets, headgear, bistros and fashionable girls, not to mention "public jokes"), the film renders all these imponderables, before the invention of the Lumiere brothers, disappear forever, those little adventures that make up the century with the times. It Sorpasso is also a very funny film.
Preview:
It Sorpasso Writer, Producer, Executive Producer, Associate Producer, Actor American.
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Vittorio Gassman (Bruno Cortona), Jean -Louis Trintignant (Roberto Mariani) Catherine Spaak (Lilly Cortona), 
honey. One is Jean-Louis Trintignant the other Vittorio Gassman . One is as good as gold, the other as an insatiable frame. One is right, the other has them all. The other is smoking, one not. And tutti quanti. To save himself this bit dizzy, he would not say one thing, bringing all the pairs of contrary concepts to one: Roberto - Trintignant was a voiceover, Bruno Gassman not. Symptom of what radical Roberto maintains life around with the distance of about one-in-itself, when Bruno flows without qualms in the deep outside. Man without a home without indoor, man-car absolutely present in the environment. Antennae erect, always alert, watching everything and watching. Calling the office of Bruno , his eyes do not let anything pass: "Who is the chubby then the picture? " "What's that, civil law, right? " Nothing that takes place within a short range is foreign to him, calling each time a comment, a joke, an expedited evaluation - " nice bathroom. " 
Like St. Francis Bird, Bruno even talk to trees that avoids swerved: " Thou hast escaped. "Interesting inversion, since here a "I dodged a" was expected. Because in the world Bruno, the two statements are equivalent, being the outside as an extension of himself. Proof, it never ceases to touch as he scratched his thigh. Apples on the table? It takes one and the undertaker. Bottle of perfume in the bedroom of his wife? He would pass a drop in the neck. Everything belongs to him and he belongs to all. The contract that binds him to the world is a condominium. No wonder the streets deserted August 15 him "fuck the blues" : if the world is empty, it is nothing. In sum, neorealism continues here through other means. This time it is the entire player, not a single glance doubling that of the camera, which was requisitioned to create the link with the objective world. Launched in the wake of his convertible, The Fanfaron would be a trip to Italy in fast. More concrete, more tactile, more hanging on the tar, a journey with squealing tires. Consequently, less seriously reaching for a revelation. 
