IL CAMAINO (THE CAIMAN)
Italy, 2006, 112 minutes, Colour.
Silvio Orlando, Margareta Buy, Daniele Rempelo, Giacomo Passarelli, Jasmin Trinca, Cecilia Dazzi, Michele Placido, Giuliano Montaldo, Jerzy Stuhr.
Directed by Nanni Moretti.
For several years, Nanni Moretti (La Stanza del Figlio, Caro Diario) has been on public record as taking a stand against Silvio Berlusconi. He had been preparing a documentary on him but moved to this narrative which combines making a film about Berlusconi with a final critique of the man, his policies and his destructive influence on Italy and Italian politics.
In an interview, Moretti refers to the extent of the damage Berlusconi has wrought: ethical, constitutional, psychological, moral, cultural and economic.
History has caught up with the film. Of course, it is not strange, but seems so, when Berlusconi in defeat in the recent elections put on tantrums like those we see in this film.
It all starts out as a story about a low-budget director who is on the rocks and gets the opportunity to make a film which turns out to be this political expose. The first half of the film has a great deal of satire on Italian cinema – including a performance by veteran director Giuliano Montaldo – as well as references which Italians and cinema buffs will pick up.
The domestic side of the story is very well handled even though it is also about divorce. Silvio Orlando is completely persuasive as the director but even more persuasive(!) as a caring and loving father. He has some wonderful scenes with his screen children. Margarita Buy is his wife (who used to be his heroine in his series of pseudo Kill Bill movies, Moccasin Assassin, Cop in High Heels and Maciste Against Freud!).
The ups and downs of making the film are both humorous and exasperating. Michele Placido does a wonderful spoof of a vain film star who agrees to play Berlusconi and then pulls out for specious reasons.
It all gets rather serious when the film finally gets made with Moretti himself coming in to play the politician on trial – building up to a damning indictment. For Italians an emotional response. Outsiders can observe with interest – and with reflections on how European politicians from other nations sided with or against Berlusconi.
1.Films of political satire? Political judgment? Contemporary and relevant? Critique? The particular focus? Universal message?
2.Nanni Moretti and his career? As a critic of the Italian government and Silvio Berlusconi? His work on documentary material, the transition to narrative and satire? The final performance as Berlusconi himself?
3.The humour at the expense of the Italian cinema world: the credits, Cataracts and its Kill Bill-style action? The spoof? The titles of the films? B-budget (Z-budget) producers, directors? Absence from the screen? Screenings for students? Critics and their interviews and speeches? The references to Italian directors? The cast and the stars? Entertaining for film buffs?
4.The background of the family story, Bruno and Paula, the marriage, Paula working for Bruno but wanting to forget that part of her life? At home? With the boys? Bruno as a good father, playing with his boys, telling them stories, going to the sports matches, talking with the referee, his outing in the country and listening on the phone about his sons playing? The background of the divorce and its effect on the boys, their being sad? Their visits, going out with him, the tensions?
5.The Columbus project, the preparation, the model ship, the director walking out? The discussions with Italian television and production? The irony of Bruno following the model of the boat through the city? Going to seaside, watching the scene being filmed, with Marco as Columbus?
6.Teresa, her manuscript and the baby, giving it to Bruno, his crises and reading it, asking Paula to read it? The decision to contact her? The production and contract discussions? The reviewing the script, making it more explicitly Berlusconi? Teresa as director, her fears – especially on-set?
7.Teresa and her family, the picnic, her baby, the lesbian partner, their squabbling in the car, the ride home, Bruno’s shock but having to cope?
8.Bruno imagining a film with the Berlusconi look-alike, Berlusconi’s manner, speeches? Idiosyncratic? The insertion of the real clips of Berlusconi in parliamentary performance, the insults, the irony issue, clowning?
9.Moretti and his critique of Berlusconi: ethics, psychological damage, cultural, political, social and economic?
10.Audience response to Silvio Berlusconi in himself? His background, media interests, prime minister of Italy? His influence on the Italian government, Italian politics? Audience knowledge of him?
11.Mario, the main actor, the discussion with Bruno, the phone call and the phone sex, his skill in impersonating Berlusconi? His plea to get out of the film – and being seen, still on his mobile phone, filming the Columbus film?
12.The Polish producer, his interest in Bruno’s films, supplying the money, success in Poland, his coming on as producer? The interviews, the contracts, his friendship with Teresa? His sharing the enterprise with Bruno? With Marco’s pulling out, his also pulling out?
13.Bruno, his crisis, living alone, moving out of the house, with the sets, seeing them bulldozed? The divorce, his not wanting it? Paula and her selling him the interest in the flat?
14.His jealousy, listening to Paula singing in the choir, his walking up to the stage and interrupting, his denunciation of her? Yet the friendship, the cars drawing parallel and their waving at each other? The boys, the visit, putting up the tent?
15.Nanni Moretti and his rejecting the offer of being in the film? His coming back? His face superimposed on that of Teresa – and Teresa’s film becoming Nanni Moretti’s film?
16.The court scene, the prosecution’s attack on Berlusconi, his speeches and his denunciations, his claiming the right of the people voting for him, his role in the government, his fascist stances, his claims for democracy? His having to go out and meet dignitaries? His presence for the final judgment, the condemnation, his speech in the court, on the steps? The reaction of the journalists, the hostility to the judge, the soldiers having to protect him? Stones and flames?
17.The final image, the serious and fascist Berlusconi? The knowledge of the audience on the subsequent history of Berlusconi and his loss of the 2006 election?
