Totò e Carolina
As is often the case in his films, Totò dominates the screen in Totò e Carolina. Anna Maria Ferrero is not convincing in the role of Carolina, but that is probably a shortcoming of the script rather than her acting performance - the character is not well defined and her lines are far from memorable. In viewing this movie so many years after it was created, some unexpected elements emerge: it opens a window into a bygone era in a way that most period pieces cannot do. Totò plays a policeman in post World War II Italy. Carolina is swept in a prostitution raid, although she is not a prostitute. While in custody she attempts suicide, and Totò is entrusted with the task of returning her to her family out in the country.
A number of adventures take place as Totò goes about completing the assigned task. There is a considerable age gap between Totò and Carolina, so that romance does not play a role, although there are plenty of opportunities for Totò to display his kind of humor, often as a straight man. A vicar says, "I ask your permission to be amazed," several times. Totò finally turns the table before the vicar can once again ask permission by granting it. Carolina is shown a clay modeling of a bust - a Totò hobby - and she's asked to identify the person, the 'very important person.' Carolina shrugs and replies, "Mussolini." Totò's expression, with his incredibly plastic face, show his chagrin. A road encounter with a truck full of communists says more about the politics of the era than any chronicle: Totò police uniform is a symbol of the authority that the communists disdain, but when his vehicle runs off the road the truck stops and everyone helps to recover the vehicle - the exchanges are civil, and everyone demonstrates respect.
So, no spectacular vignettes, only Totò's presence, his very unique performance style, and a peek into a landscape that has mostly vanished. As an Italian who came to America at about the time this film was made - and an ardent Totò fan as an adolescent - I found the film compelling as a nostalgic trip. Totò never had much of a following outside of Italy, and this movie is not likely to gain new followers.
A number of adventures take place as Totò goes about completing the assigned task. There is a considerable age gap between Totò and Carolina, so that romance does not play a role, although there are plenty of opportunities for Totò to display his kind of humor, often as a straight man. A vicar says, "I ask your permission to be amazed," several times. Totò finally turns the table before the vicar can once again ask permission by granting it. Carolina is shown a clay modeling of a bust - a Totò hobby - and she's asked to identify the person, the 'very important person.' Carolina shrugs and replies, "Mussolini." Totò's expression, with his incredibly plastic face, show his chagrin. A road encounter with a truck full of communists says more about the politics of the era than any chronicle: Totò police uniform is a symbol of the authority that the communists disdain, but when his vehicle runs off the road the truck stops and everyone helps to recover the vehicle - the exchanges are civil, and everyone demonstrates respect.
So, no spectacular vignettes, only Totò's presence, his very unique performance style, and a peek into a landscape that has mostly vanished. As an Italian who came to America at about the time this film was made - and an ardent Totò fan as an adolescent - I found the film compelling as a nostalgic trip. Totò never had much of a following outside of Italy, and this movie is not likely to gain new followers.
