The memories that his name brings to incurable cinephiles and lovers of post-war Italian cinema are like the first romantic heartbeat or the games in the sea and the first ice cream. His movies Dino Rizzi made millions of viewers around the world love Italy, the “dolce vita”, admire the acting skills of Vittorio Gusman, Alberto Sordi, Hugo Toniazzi…

The first thing that comes to the mind of every fan of Dino Rizzi’s films is the source of laughter, his incessant sarcasm, his mood for inexhaustible fun, his mocking spirit for the ill-written Italy and in general for a superficial, hypocritical world. Dino Rizzi, next to the greatest Mario Monicelli, will be a worthy creator of “comedy all Italian” and will leave an era with his classic, today’s, films “The Fanfaron”, “The Monsters”, “Old Life Old World” and “Scent of a Woman ». An inspired director who dabbled in other film genres, from sex-comedy to drama and distanced himself from the militant political cinema of the 60s-80s. Something for which, especially the leftists in the field, will try to discredit him, even though in most of his films he will criticize the ruling class, bourgeois and petty-bourgeois morals, without, however, condescending to anyone, especially the left-wing ones.

Completing 15 years since his death (June 7, 2008), it is an opportunity to remember and let younger people know the enormous value of Dino Rizzi, his first steps, his top artistic moments and his films that will remain immortal.

Artistic anti-fascist roots

Dino Rizzi, although one could say that he is the classic joker from the South, was born on December 23, 1916 in Milan, from a family with artistic roots. His father, who died at the age of 12, was a distinguished doctor of the Scala in Milan, while his brothers also worked in the cinema, as did his son Marco. Among his father’s clients was the young journalist Benito Mussolini, but his family was against fascism and after the armistice of 1943 he refused to be involved with Salo’s mock democracy and fled to Switzerland.

From Medicine to Cinecitta

Rizzi studied medicine in Milan, but did not continue his studies in Psychiatry, as his parents wanted. He got involved in cinema completely by accident, following the prompting of the director Alberto Latuada, who in 1940 suggested that he become his assistant in a film. Rizzi accepted, but with no intention of pursuing directing professionally. That is why he will then start writing articles in Italian newspapers. After the war, he will start making short films, with themes mainly from the city of Milan and the wounds he carried from the War. The last of these films will attract the attention of the famous producer Carlo Ponti and Rizzi decided to move to Rome and the famous Cinecitta, to devote himself to cinema.

Poor but Nice

His first film was “Vacation with the Gangster” in 1951, while his first success will be known in 1956 when he filmed the sweet comedy “Bread, Love and…” with Gina Lollobridgeta and Vittorio de Sica, which was the last part of a trilogy, started by Luigi Comencini – another important representative of “comedy alla Italiana”. In the same year, he will shoot the comedy “Poor But Beautiful”, which will become very popular with the Italian public and will establish Rizzi as a comedy director.

Old life Old world

In 1960 he will have his first collaboration – out of a total of 16 – with Vittorio Gusman in the comedy “The King of the Combina”, while the following year he will direct the wonderful dramatic comedy “Paliozoi Paliokosme”, with an inimitable Alberto Sordi in the leading role . A film that begins as a comedy, with the small-town and humble civil servant Sordi wanting to put his awkward and shy son to work, and in the end develops into a drama, after an unexpected tragedy that will find his hero. A particularly scathing film about the petty bourgeoisie and conservatism that reigned in the Italian public sector, but also how a man can transform into a merciless avenger.

The Fanfaron

1962 will be Rizzi’s year, as he will deliver the masterpiece of his life, “Fanfarono”, a classic example of “comedy all Italian”, one of the best films of the decade, which owes a lot to the timeless and constantly growing his charm, to the beast of world acting, Vittorio Gusman, but also to the brilliant Jean-Louis Trentinian. Over the years, “The Braggart” (“Il Sorpasso”) has acquired yet another important and rare peculiarity, as the negative character of Bruno Gassmann was transformed into a heroic physiognomy. As Dino Rizzi had said, “Gussman’s character is that of a man who has not learned to build anything, but only to tear it down.” But we are at the beginning of the 60’s, in an Italy that is experiencing its “economic miracle”, with the people forgetting their roots and falling into the ease of shallowness, individuality, consumerism. The uncompromising Rizzi warns Italian society of the future. Over the years, even if it seems contradictory, Gusman’s character acquires positive characteristics, becomes even more charming. His disrespect for everyone and everything, the risk of speed, his ironic attitude, his disdain for social becoming, his contempt for death and every convention takes on revolutionary dimensions. Contrasted with the compromised, timid, awkward, introverted law student young Trentinian, who looks like a fragile model, who, although attracted to Gassmann, is clearly ready to surrender to convention, to become a responsible, orderly citizen who it will contribute to the memerization of the modern world.

The Monsters

In 1963 he will shoot the hilarious, tear-jerking satirical film “The Monsters”, with characteristic figures of Italy and stereotypes of society, with Vittorio Gusman and Hugo Toniazzi giving their change. A decade of notable films would follow, including “Catch the Tiger by the Tail,” “A Don Juan Prophet,” “100 Minutes of Truth,” “The Missing Girl Had It All,” until his next huge hit that it will bring him close to an Oscar.

Scent of a Woman

In 1974, the dramatic comedy “Scent of a Woman” will premiere, giving another memorable role to Vittorio Gusman, who plays a retired blind officer who recognizes women by their scent and wants to kill himself, but changes his mind after a weekend, having a young infantryman by his side as an ordnance officer. An excellent film that goes deep into the psyche of the main character, it won many awards, including an acting award at Cannes for Gusman, while it was also nominated for the Oscars for best foreign language film and adapted screenplay. In 1982 in the American remake of the film, Al Pacino would win the Oscar for Best Actor, giving another great performance, but no lies, Gusman will forever remain the emblem of the film for all true cinephiles.

Dino Rizzi will continue to make films and enter the studios until old age, something like Andreotti of the cinema, although he was struck by cancer, which plagued him until the end, which came on June 7, 2008, in his apartment in Rome. He will leave us a legacy of his wonderful creations and perhaps the sweetest summer memories, in the summer, where we recognized his rare talent and his uncompromising artistic vision.