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Among these seven friends, secrets are the only constant. It certainly attacks the way mobile phones have taken over our lives, but the malaise here is not technical. In a quiet way, Perfect Strangers does that too. The Commedia films took a harder line about post-war Italy's failure to deliver the goods. Italian audiences always preferred domestic comedies, where the humour was tougher. They were art films, rejecting Fascism and wringing their hands with the tragedy of modern life. The Commedia all'Italiana films were more satirical and cynical than the heart-on-the-sleeve neo-realist films that made Italian cinema famous just after the war. The two lead characters in that film were called Cosimo and Peppe. The film that started the movement in 1958 was Mario Monicelli's I Soliti Ignoti (known as Big Deal on Madonna Street in English), the story of a gang of petty thieves who botch an attempt to steal a pawnbroker's safe. Genovese shows his hand, very deliberately. That's brave but risky times have moved on. The Italian critics applauded Genovese for attempting to revive one of the most important local genres – the so-called commedia all'Italiana, or "comedy Italian style", that ran from the late 1950s until the early 1980s. They may be vulnerable, imperfect people, but they are trying. There is a duality at work in the characters.
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Cosimo may be a stereotypical Italian man – a combination of serial seducer, braggart and mama's boy – but Rocco the surgeon is wise and witty, an honourable man. Come to think of it, that's what Genovese does and yet he works hard on the characterisations. It would be easy to do this script badly – a mechanical wheeling out of one embarrassing moment after another. Her husband Lele (Valerio Mastandrea) asks Peppe to swap phones – so that when his mistress sends an indecent photo of herself, as she does at 10pm every night, Peppe can pretend she's his new girlfriend. The gorgeous Carlotta (Anna Foglietta) is a secret drunk who takes her underpants off before she arrives – suggesting she's having an affair with someone at the table. He doesn't quite succeed but it doesn't matter.Īudiences won't worry much about it being static if they are laughing at good dialogue and seeing the characters squirm.
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That's a smart response to the film's biggest challenge – how to make a one-set, dialogue-driven script cinematic, rather than just a filmed play. This is where director Paolo Genovese puts his camera, as a way of including us in the action.
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That leaves one seat free at the big square table on which they eat a series of fabulous dishes (if nothing else, the movie will make you hungry). A fever, he explains, but we can see he's lying. They have gathered to meet the new girlfriend of the bumbling bachelor Peppe (Giuseppe Battiston), who arrives without the girl.
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His new wife, Bianca (Alba Rohrwacher), a vet, adores him and sees no blemishes.
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Cosimo (Edoardo Leo) drives a taxi and dreams of get-rich-quick schemes.