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Contromano
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Contromano

Dear Antonio Albanese, who laughs when he puts on stage his comical masks and that great actor has been in films like The Intrepid, Issues of the heart, or The language of the saint. One Nation, One King But forgive us: Contromano, his fourth direction, is a film that just does not work. Indeed, to stay in the automotive metaphor of the title, the film immediately goes off the road and falls down a cliff. Called the tow truck we try to explain the reason for this scorching disappointment. Meanwhile, I’m sorry, but in this film you can not make a laugh that one, how to say, not even cry. The feeling of cold inconclusiveness that Contromano transmits, saddens and loses the viewer for at least three reasons.

The first: Contromano continually changes step by step in the tone to be kept to face “comically” the theme of (alleged) racism. A bit ‘black comedy (as we had seemed from the trailer) and a bit’ sentimental comedy, a little ‘on the road to Salvatores and a little’ Christmas story (in his cynical malice the protagonist Mario A Better Tomorrow could be a Scrooge d ‘ vintage), Contromano swerves as soon as the first block of narrative ends, that of the trappolone al vu cumprà malandrino that sells socks of low quality and tattered prices in front of the shop of quality socks and more expensive than the poor merchant Mario. Stunned by the African immigrant (fingernails on the scratching glass) by Mario is stunned: cynicism dangling in the middle of the screen that knows neither real nor fairy tale, let alone surreal or grotesque. As indeed the disturbing abduction of the same, which still plays on the codes of a comedy that struggles to explode honest and understandable, further deploys the viewer. What’s more, the film goes direct in dérapage, throwing into the story a poor disabled (and we are again in a realism pushed) that obviously knows all of him (forgive us Albanian but we did not understand that it has humanly and logically also in an enlarged allegory of diversity to be overturned with meaning); and a beautiful African actress, of whom Mario, who will be racist but not foolish, falls in love. Here the compass that should mark socio-political satire (“we bring you all home” as the film’s tagline), instead makes the needle swing on the journey of Mario accompanying the two migrants in their native country, in Senegal, in a romantic vis-a-vis that then gets stuck in sentimental jealousies, attempts to escape everyone (but where do they go?), in an empty waiting attitude for the umpteenth turn of writing and Bocadillo tone. We do not tell the whole movie, but we can reveal that the protagonist turns again into at least two other comically different Mario.

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