Editing Cinema of Italy (section)

====Commedia all'Italiana (1950s–1970s)====
{{Main|Commedia all'Italiana}}
[[File:Mastroianni divorzio italiana.jpg|thumb|left|''[[Divorce Italian Style]]'' by [[Pietro Germi]] (1961)]]

[[Commedia all'italiana]] ("Comedy in the Italian way") is an Italian film genre born in Italy in the 1950s and developed in the following 1960s and 1970s. It is widely considered to have started with [[Mario Monicelli]]'s ''[[Big Deal on Madonna Street]]'' in 1958<ref name="quinlan">{{cite web|url=https://quinlan.it/2020/03/12/i-soliti-ignoti/|title=I soliti ignoti|date=12 March 2020 |access-date=21 November 2022|language=it}}</ref> and derives its name from the title of [[Pietro Germi]]'s ''[[Divorce Italian Style]]'', 1961.<ref>{{cite web|url=https://www.viv-it.org/immagini/divorzio-all-italiana-1961-di-pietro-germi|title=Divorzio all'italiana (1961) di Pietro Germi|access-date=21 November 2022|language=it}}</ref> According to most of the critics, ''[[La Terrazza]]'' by [[Ettore Scola]] (1980) is the last work considered part of the Commedia all'italiana.<ref name="Brunetta">{{cite book|first=Gian Piero |last=Brunetta|title=Storia del cinema italiano|publisher=Editori Riuniti|volume=IV|chapter=Dal miracolo economico agli anni novanta, 1960-1993|year=1993|page=386|isbn=88-359-3788-4|language=it}}</ref><ref name="italica">{{cite web|url=http://www.italica.rai.it/cinema/schede/commedia4.htm|title=Ultimi bagliori di un crepuscolo (1971-1980)|archive-url=https://web.archive.org/web/20051126005249/http://www.italica.rai.it/cinema/schede/commedia4.htm |access-date=23 November 2022|archive-date=26 November 2005 |language=it}}</ref><ref name="Giacovelli">{{cite book|first=Enrico|last=Giacovelli|title=La commedia all'italiana - La storia, i luoghi, gli autori, gli attori, i film|pages=11–12|publisher=Gremese Editore|year=1990|language=it|isbn=978-8876058738}}</ref>

Rather than a specific genre, the term indicates a period (approximately from the late 1950s to the early 1970s) in which the Italian film industry was producing many successful comedies, with some common traits like satire of manners, farcical and grotesque overtones, a strong focus on "spicy" social issues of the period (like sexual matters, divorce, contraception, [[marriage of the clergy]], the [[Italian economic miracle|economic rise of the country]] and its various consequences, the [[Catholic Church in Italy|traditional religious influence]] of the [[Catholic Church]]) and a prevailing [[middle-class]] setting, often characterized by a substantial background of sadness and [[social criticism]] that diluted the comic contents.<ref name="treccani1">{{cite web|url=https://www.treccani.it/enciclopedia/commedia-all-italiana_%28Enciclopedia-del-Cinema%29/|title=Commedia all'italiana|publisher=[[Treccani]]|access-date=21 November 2022|language=it}}</ref>
[[File:Il medico della mutua.png|thumb|''[[Be Sick... It's Free]]'' by [[Luigi Zampa]] (1968)]]

The genre of Commedia all'italiana differs markedly from the light and disengaged comedy from the so-called "pink neorealism" trend, in vogue until all of the 1950s, since, starting from the lesson of [[Italian neorealism|neorealism]], is based on a more frank adherence in writing to reality; therefore, alongside the comic situations and plots typical of traditional comedy, always combines, with irony, a biting and sometimes bitter satire of manners, which reflects the evolution of Italian society in those years.<ref name="treccani1"/>
[[File:Amici miei 18.png|thumb|''[[My Friends (film)|My Friends]]'' by [[Mario Monicelli]] (1975)]]

The success of films belonging to the "Commedia all'italiana" genre is due both to the presence of an entire generation of great actors, who knew how to masterfully embody the vices and virtues, and the attempts at emancipation but also the vulgarities of the Italians of the time, both to the careful work of directors, storytellers and screenwriters, who invented a real genre, with essentially new connotations, managing to find precious material for their cinematographic creations in the folds of a rapid evolution with many contradictions.<ref name="treccani1"/>

Among the actors the main representatives are [[Alberto Sordi]], [[Ugo Tognazzi]], [[Vittorio Gassman]], [[Marcello Mastroianni]] and [[Nino Manfredi]],<ref>{{cite book|first=Gian Piero |last=Brunetta|title=Storia del cinema italiano|publisher=Editori Riuniti|volume=IV|chapter=Dal miracolo economico agli anni novanta, 1960-1993|year=1993|pages=139–141|isbn=88-359-3788-4|language=it}}</ref> while among the actresses is [[Monica Vitti]].<ref>{{cite magazine |last=Cosulich |first=Callisto |date=4 June 2004 |title=Storia di un mattatore |url= |magazine=Cinecittà News |location= |publisher= }}</ref> Among directors and films, in 1961 [[Dino Risi]] directed ''Una vita difficile'' (''[[A Difficult Life]]''), then ''[[Il Sorpasso]]'' (''The Easy Life''), now a cult-movie, followed by: ''[[I Mostri]]'' (''The Monsters'', also known as ''15 From Rome''), ''In nome del popolo italiano'' (''[[In the Name of the Italian People]]'') and ''[[Profumo di donna]]'' (''Scent of a Woman''). Monicelli's works include ''La grande guerra'' (''[[The Great War (1959 film)|The Great War]]''), ''I compagni'' (''[[The Organizer]]''), ''[[L'armata Brancaleone]]'', ''Vogliamo i colonnelli'' (''[[We Want the Colonels]]''), ''Romanzo popolare'' (''[[Come Home and Meet My Wife]]'') and the ''Amici miei'' (''[[My Friends (film)|My Friends]]'') series.

For the majority of critics the true and proper "Commedia all'italiana" is to be considered definitively waned since the beginning of the 1980s, giving way, at most, to an "Commedia italiana" ("Italian comedy").<ref>{{cite web|url=https://www.ilsorpassocinema.com/2021/03/21/le-migliori-50-commedie-italiane-degli-anni-80/|title=Le migliori 50 commedie italiane degli anni 80|access-date=25 November 2022|language=it}}</ref>