PER LE ANTICHE SCALE

Italy, 1975, 97 minutes, Colour.
Marcello Mastroianni, Francoise Fabian, Marthe Keller, Barbara Bouchet, Lucia Bose, Adriana Asti.
Directed by Mauro Bolognini.

Per Le Antiche Scale is one of many of the historical films made by Mauro Bolognini. He was especially prolific from the late 1950s with Il bell’Antonio and La Notte Brava, with Marcello Mastroianni through the 1960s and, especially, with some historical films in the 1970s including Metello, L'eredita Ferramonti and Lady of the Camellias.

This film is set in Tuscany in the 1930s. The location is a mental institution. Marcello Mastroianni portrays the doctor in charge. He has some theories about madness and the physical nature of a virus or germ which causes madness and is experimenting to find out what this germ is.

It would seem that the mental institution serves as a microcosm of Italy at the time, the period of fascism. The structure of Italy and its government, the structure of the institution and its government. There is an earnest enterprise in trying to seek out the truth – although another doctor, played by Francoise Fabian, has different theories – and also resists the sexual advances of the doctor who is involved with three women in the hospital.

Bolognini has an elegant style, takes us into the atmosphere of Italy and the Italian characters, offers food for thought. There is a very good supporting cast of women performers, most of whom are still performing into the 21st century, Francoise Fabian in Italy and France, Adriana Asti in Italy, Barbara Bouchet in Italy, Marthe Keller in continental films, although she has a good role in Clint Eastwood’s Hereafter (2010).

Bolognini’s films would be typical of some of the qualities of Italian film-making of the 1970s.

1. The impact of the film? Reflection on Italian fascism? The history of Italy?

2. The film for an Italian audience, reflecting on its history? A worldwide audience?

3. The colour photography, the re-creation of the period, the Tuscan locations? The musical score?

4. The title, the introduction to the mental institution?

5. Fascism, in Italy in the 20s and 30s, a kind of madness, the perspective of the 1970s? The development of fascism, the overthrow of fascism and the implications? How effective is this kind of storytelling for explorations of themes and characters? The political points?

6. The issue of madness, who is mad, what is madness? How is it gauged? By behaviour, scientifically, philosophically? Professor Bonaccorsi, his theories? Anna and her contrary theories? The staff at the institution? The professors?

7. The carnival, a mad time, the mad look? An introduction into this world? Gianna, Tonio, Bianca? The happiness and the madness?

8. The building, the contrast with its austerity, the wards, the uniforms, the formalities?

9. The film and its exploration of types of madness, in men, in women? Physical aspects, psychological aspects? Repetition? Erotic aspects? The need for research? The staff and doctors and their contribution?

10. Bonaccorsi and his research, his obsession? The clash with Anna and the staff?

11. The professor and his work, his achievement, Laura, Bianca, the sister, his theories? His angers, his relationship with the women, Anna, the revelation? The meaning?

12. Francesca and her world, death? Carla and her being perverse? Nymphomaniac? Bianca as normal? The doctor and his relationship with each of the women? His own libido? Affecting his work or not?

13. Anna, her theories, her work with Bianca, Gianna? The theory and Tonio?

14. Gianna and Tonio, the outing?

15. Italy, its secular background, religious background – and the implications for the mental institution?

16. The exercise of power, control, the challenge to power?

17. The audience immersed in this particular world, enclosed in it? Reflections on sanity and insanity? Exploration of the character of Doctor Bonaccorsi, his relationship with the women? The women? Political and psychological?