VOLTATI EUGENIO

Carol Andre, Bernard Blier, Francesco Bonelli.
Italy, 1978, 105 minutes, Colour.
Directed by Luigi Commencini.

Voltati Eugenio is a perceptive social drama by director Luigi Comencini. The focus is on a young boy and his being rejected by parents and his family. The irony of the film is that the adult characters justify their attitudes towards Eugenio and are oblivious of their self-centredness. The film also attacks people who get caught up in humanitarian causes and neglect the basic human relationships. This is brought to a bitter conclusion as the central characters look at a newborn calf while Eugenio walks off into an uncertain future.

The film shows Italian society of the '70s and changing moral attitudes. The parents could have been sympathetic characters - in themselves they are attractive. However, they neglect their son and pursue their own careers selfishly. The grandparent generation is well-intentioned but ineffectual. The acting is very good and there are excellent supporting roles - especially a young boy as Eugenio's friend. The film was made around the same time as the American Kramer vs. Kramer, which would be an interesting comparison.

1. An interesting drama? Well observed? Appropriate critique of human nature, society? The Italian setting and impact for Italian audiences? Its universal message?

2. The atmosphere of authenticity in the Italian setting: the city of Rome, the countryside. homes and farms, apartments and shops, roads and airports? Audiences identifying with the characters and their situations? The film's attention to detail in characterisation and--- situation? The style of the musical score - the insertion of the child's song with its ironic lyrics?

3. The structure of the film: the basic situation for Eugenio and his being dumped on the road? The flashbacks from the various characters building up the story of Eugenio's childhood and rejection? The build-up to the final confrontation? The dramatic impact of this parallel structure?

4. The sympathies and viewpoint of the film-makers? Their concern for the child? The comment on the adult generation? The causes of the '60s and '70s? Causes vs. human beings? The pathos of the ending?

5. The introduction to Eugenio: his taunting Moustachio with the radio? His unwillingness to go to England? The suggestion of his relationship with his father? Grandparents? His confronting Moustachio and daring him? His being dropped on the roadside? His growing bewilderment? Disappearance? His reappearance at the end? His being the centre of attention and then being ignored? The irony of the final comments of the adults looking at the calf and its cuteness, the point of adults being monsters eating animals and the comment on their treatment of Eugenio? With so much insight into what had happened in his life up to this point?

6. The film's comment on children and their place in the family, love of parents, their not being wanted, parents' inability to cope, the self-centredness of parents and the victimisation of children? The possibilities for children to grow and develop? The shrewdness of the child in seeing when he is dumped? Hurt children? The repercussions for the future?

7. The focus on Giancarlo and Fernanda? Seeing them in their search for Eugenio? Their memories? Their justifying themselves in their memories? The audience critical of them? The marriage and Moustachio warning them that they were fools? The early years and their self-preoccupation as in the train ride? Argument, storming off the train, abandoning Eugenio? The phone calls and the grandparents looking after him? The break-up? Their being preoccupied with their work and causes? Fernanda and her marching in feminist demonstrations? Her overseas work? Her stating to Eugenio that work comes first? Giancarlo and his jobs, relationship with Ailena? His comment on biological needs and Eugenic being a burden? Did the parents love their child at all?

8. The role of the grandparents in looking after Eugenio? Fernanda's parents and the farm, their care and concern, their inability to relate to Eugenio? Their participation in the search? Their seeing Eugenio on the street with Guerrino and their discovering Giancarlo with Milena? Their presence at the farm and concern about the calf at the end?

9. The contrast with Giancarlo's mother and her wealth, her preoccupation with playing cards, the admiral who escorted her? The pathos of the old farmer and Eugenio's visit - his watching television, the difficulty in recognising him? Imminent death?

10. The character of Giancarlo: seeing him search for Eugenio, his memories? Taking Eugenio to England? The background of his having him at home, sharing in his work, the bedroom sequences with Eugenio interrupting? The friendship with Guerrino? The clash with the impatient 6lient? The liaison with Milena and his talking frankly to Eugenio? Pressurising him to go to Spain? Giancarlo's work on the television sets? His self-centredness, his asthma and his smoking?

11. The contrast with Fernanda and her feminism, her pretending to stay the night, the offer of overseas work, the phone calls, the holiday in Spain, her not meeting Eugenio, the bullfight? Pampering him on holidays but otherwise neglecting him?

12. Milena and her liaison with Giancarlo, her walking into the apartment, her disregard for Eugenio?

13. Moustachio and his giving Eugenio a lift, abandoning him on the road, searching for him? His role in friendship with Eugenio's parents? His urging Eugenio to run off at the end?

14. The film's themes of social causes and reform versus selfishness and lack of concern for individuals?

15. Guerrino and his friendship with Eugenio, the greens and the stale bread, the discussion about looking after the animals, selling handkerchiefs on the road? Helping in the search for Eugenio?

16. The insight of the film into human nature, feeling, hurt? Family, marriage? The film's pessimistic comment on contemporary society?