ERNESTO

Italy, 1979, 98 minutes, Colour.
Martin Halm, Michele Placido, Virna Lisi.
Directed by Salvatore Sampieri.

A very good example of the kind of film Italians do so well - recreate a period in their past and study character within the framework of society. However, they give penetrating portrayals of characters within these contexts, like the work of Bolognini.

Salvatore Sampieri made a number of similar films which have tended to be considered as exploitive (Malizia). Malizia as well as this film focus on a teenager and his initiation into life with an emphasis on sexuality. This film is notable insofar as the central character, very well portrayed indeed, is homosexual. This in portrayed within the context of pre-World War Italian society.

However, the film in very broad in its scope - presenting a picture of the various strata within Italian society and the various expectations imposed on people. Ernesto is a spoilt young man who has ambitions but prefers to let others do everything for him. He lives in a fantasy world of extravagance and uses people unashamedly. He is a manipulator and while the end of the film leaves him looking quizzically at the audience, he probably will continue throughout his life in this vein. Martin Halm is very good as Ernesto and there in an interesting performance by Virna Lisi as his mother. There is an attractive score, and a beautiful re-creation of the period in arts, decor and costumes. A very interesting film.

1. The title and the focus of the film on Ernesto - as a person, as an individual in society, as a product of his society and reflecting it? A symbol of society?

2. The contribution of the re-creation of the period, the considerable attention to detail? Colour, sets, costumes? A world of external elegance and opulence? The world of the working classes compared with the world of the wealthy? The contribution of the musical score and the various themes - the theme for the town itself, for the relationship between Ernesto and the labourer etc.? The songs?

3. The pace of the film, its mounting, editing, style - the pace suggested for life in pre-World War One Italy?

4. The Italian tone of the film - a glimpse of Italian history, the re-creation of a period, the picture of society and its classes, the world of labour, the rise of Socialism, the picture of wealth and the gap between wealth and the workers? A piece of Italian social history and observation?

5. The importance of the Jewish background of the film? The focus on the family, friends? The minimal reference to Italian Catholicism? the mother's run-away husband, glimpses of priests and nuns in the background? The seeming by-passing of the considerable influence of Catholicism on Italian society?

6. The portrait of the city, the warehouse and the attention to
detail mad in its presentation, offices, shops, the prostitutes' rooms, homes, concert hall etc.? The attention to detail for the feel of the times?

7. How well did the film focus on Ernesto? Martin Halm's presence, appearance, age? How well did the audience come to know him at each stage of the film? Likable or not? The audience judging him at the various stages, at the end as he looked quizzically from the screen? The prospects for his future? Ernesto as a type - selfish, spoilt, naive, innocent, knowing, using others, his fantasy world, extravagance?
His capacity for initiative and ambition, his preferences to being spoilt? The choices that he had made at the end of the film?

8. How well did the film create the world of labour - Ernesto and his hiring of the men, the details of their carrying the sacks and the work, their inability to succeed with a strike? Wilder and his office, his making money despite himself? Ernesto's consistent clashes with Wilder for example the mothballs, the cigar the stamps, the cane, the whistle? The clash with the new apprentice? Ernesto and his jokes and being the victim of his jokes? Ernesto and his trying to collect the rents and failing, giving a good appearance and
pretending that he had succeeded? Riding in carriages? His confrontation of Wilder and the letter to him? His being fired? The transition to the family tin firm at the end - and his being indolent at that?

9. The personality of the labourer - Ernesto's encounters with him, giving him the cigars, their discussion about relationships, intimations of homosexuality? Ernesto's choices, the bond between the two? The explicit scenes? Ernesto's decisions? How authentically did the film present the labourer, his feelings, tenderness and love? Ernesto and his encounters, the effect on him, his self-preoccupation? Arranging of the meetings, using the labourer? The caning? Ernesto’s gradual take over, subjugating, humiliating him and leaving him? The glimpse at the wealthy family's house? The final encounter and him giving him a coin as a beggar - and the man's giving it away? Indications that he was drinking too much? How sympathetic a portrait of the labourer - how much insight?

10. The film's presentation of the theme of homosexuality, insight, sympathy? The discussion about the suicide of the wealthy businessman? Was Ernesto actually a homosexual? The attraction towards Elio? The importance of his discussion with his mother - telling her the truth but twisting the truth for his own purposes?

11. Ernesto and heterosexuality - his friends and discussion with them, outing with them? The visit to the prostitute and his attraction towards her? The attraction towards Rachael? The prospects of marriage?

12. The portrait of Ernesto's mother - her appearance, place in the household, the background of her pregnancy and being deserted? The family's critical attitude? Giovanni, Regina and her disdain - and finally the bond with the prospect of Ernesto's marriage? Her continually spoiling her son - the bird, the seder supper, washing him when he was sick, going to Wilder to get the money? The discussion about sexuality and her reaction? Her happiness and his playing the violin, the prospects of the wealthy connection? How interesting a character study of a woman, a mother? Her influence on Ernesto and the blame for his irresponsibility?

13. The picture of the aunt and uncle, Ernesto being Socialist despite them, the Jewish background and the seder supper, their comments on Ernesto’s mother and. her behaviour? Surface sensibility and respectability, their business, elegance? Values? Hypocrisy?

14. The importance of the character of Wilder, his character, his comments an judgment on Ernesto and his behaviour? The mutual clash, his telling him of the truth especially about being the object of Ernesto's ridicule and of Ernesto's sacking him, the final encounter at the party and their being the same age?

15. The portrait of the minor characters - the workers and- their strike day-to-day labour, payments? Ernesto’s friends and their society elegance? The prostitutes and their world?

16. Ernesto's going to the concert and the build-up to this to get the money, his imagining himself as a pianist? The attraction to Elio and his testing him out, practising to coach him and make an impression, his reaction to Elio's playing? The seduction and the kiss and the encounter with Rachael? What intentions did Ernesto, have towards Elio? The bond with Rachael - the horse-play with Elio, the painting of the portrait? The importance of the scene of the interchange of clothes and personalities? The emotional tangle with both of them? His coping with them both at the party in his honour? His future relationships with each of them?

17. The film's presentation of Ernesto and his abilities his age and the possibility of change, his not changing? His extravagance, living on the surface, lies, manipulating people, indolence? Elia, use of socialism? his capacity for love, hate? His surface emotions? His inability to commit himself to anything?

18. What type of person did Ernesto represent? How good a character study? Of a character within a specific social context?

19. A portrait of society - its qualities and strengths, its ills and weaknesses, hypocrisy? A discreet charm of an Italian bourgeois?