Boccaccio ’70 is a 1962 Italian anthology film, bringing together four of Italy’s most influential directors—Mario Monicelli, Federico Fellini, Luchino Visconti, and Vittorio De Sica—under a shared thematic umbrella. The film was conceived by the renowned screenwriter Cesare Zavattini, who had worked closely with these directors on other notable projects. The anthology presents four distinct episodes, each directed by one of the filmmakers, exploring various aspects of love, morality, and modern life through a lens inspired by The Decameron by Giovanni Boccaccio. The result is a series of satirical, comedic, and often provocative stories, each reflecting the shifting societal norms of post-war Italy.
Plot Summary
Each episode of Boccaccio ’70 deals with themes of love, lust, and morality, often through humor or absurdity, offering a reflection of the changing social landscape of Italy during the early 1960s. Below is a detailed breakdown of the four episodes:
1. Renzo e Luciana (Directed by Mario Monicelli)
In this episode, a young couple, Renzo and Luciana, is trying to maintain the secrecy of their marriage, particularly from their employer’s bookkeeper, a strict and draconian figure who has implemented a rule forbidding female employees from marrying or having children. The episode explores the tension between societal norms, personal desires, and the inflexible authority of the workplace. The bookkeeper, however, is not a model of virtue himself, indulging in cheap thrills and hypocritical behaviors that contrast with his rigid stance on others’ personal lives. The young couple must navigate this tricky situation while also dealing with the suspicion and interference of the employer’s enforcer. Renzo e Luciana serves as a critique of oppressive social systems and the hypocrisy of those who enforce them.
2. Le tentazioni del dottor Antonio (Directed by Federico Fellini)
Fellini’s contribution to the anthology is both humorous and surreal. In Le tentazioni del dottor Antonio, we follow an elderly, self-righteous man named Dr. Antonio, who is fed up with the perceived decline of morality in society. His particular ire is directed toward the proliferation of immoral and indecent content in print, particularly advertisements and billboards. His outrage reaches a boiling point when a provocative billboard featuring the voluptuous Swedish actress Anita Ekberg appears in a park near his home. The billboard, promoting milk with the tagline “Bevete più latte” (“Drink more milk!”), becomes an obsession for Dr. Antonio. As he fantasizes about the immoral implications of the ad, he begins to hallucinate Ekberg as a temptress, with him cast in the role of the chaste and virtuous St. George battling a metaphorical dragon. This leads to a series of comic and surreal encounters with Ekberg in which Dr. Antonio’s repressed desires clash with his puritanical moral stance. Fellini’s trademark blend of whimsical fantasy, sexuality, and psychological conflict is fully on display in this segment.
3. Il lavoro (Directed by Luchino Visconti)
In Il lavoro, Visconti examines the complexities of marriage and societal expectations. The episode revolves around an aristocratic couple, where the husband is caught visiting prostitutes, an affair that is made public by the press. The scandal puts pressure on the couple’s marriage, forcing them to confront their relationship and the role that both love and societal status play in their lives. Visconti uses this episode to delve into themes of class, societal scrutiny, and personal redemption. The episode is a more somber, introspective examination of how public perception and private behavior are often at odds, exploring the tensions that arise from infidelity and the societal pressures faced by those in the upper echelons of society. Il lavoro stands in contrast to the lighter, comedic tone of the other segments, offering a more serious commentary on love and marriage.
4. La riffa (Directed by Vittorio De Sica)
De Sica’s contribution, La riffa, takes on the themes of sexuality and consumerism. In this episode, a lottery is held in which the winner gets the chance to spend one night with Zoe (Sophia Loren), a beautiful and alluring woman. The segment explores the commodification of sexuality, with Zoe becoming an object of desire to be won in a public lottery, highlighting the transactional nature of relationships in a society that often reduces people to their physical attributes. However, Zoe, aware of the situation, has her own plans. Instead of accepting her fate as a prize to be claimed, she turns the tables, asserting her own agency in a way that subverts the expectations of those who participate in the lottery. The episode plays with themes of power dynamics in relationships and questions the morality of objectifying individuals for public consumption. De Sica’s sharp social commentary is evident as he critiques the intersection of love, desire, and commodification in modern society.
Themes and Analysis
Boccaccio ’70 reflects the evolving cultural and social dynamics of Italy in the early 1960s, an era marked by rapid economic growth, shifting gender roles, and increasing exposure to foreign influences. The film addresses various aspects of morality, including hypocrisy, sexual liberation, and societal expectations, all set against the backdrop of a modern, consumer-driven world. Each director’s episode offers a unique perspective, whether it’s Monicelli’s critique of bureaucratic control, Fellini’s surreal exploration of sexual repression, Visconti’s examination of class and infidelity, or De Sica’s commentary on the commercialization of desire.
The anthology format allows for each director to bring their own distinctive style and thematic concerns to the film. Fellini’s use of fantasy and psychological exploration contrasts with Visconti’s realist portrayal of social pressures, while Monicelli’s comedic approach and De Sica’s critique of consumerism offer a rich variety of perspectives on the central themes of love and morality.
Cultural Impact
Boccaccio ’70 is a product of its time, reflecting the shifting attitudes toward love, sex, and personal freedom in post-war Italy. The film’s blend of humor, surrealism, and social commentary made it a significant work in the context of Italian cinema, influencing both future filmmakers and the evolving cultural landscape. It also marked a turning point in Italian filmmaking, where directors began to experiment more openly with themes of sexuality and moral ambiguity.
The film also introduced international audiences to the distinct filmmaking styles of four of Italy’s most renowned directors. It served as a showcase for their unique voices, with each episode offering a rich visual and thematic experience that captivated audiences both in Italy and abroad.
Conclusion
Boccaccio ’70 is a compelling anthology film that explores the complexities of love, morality, and societal expectations through four distinct and stylistically diverse episodes. With contributions from legendary filmmakers Mario Monicelli, Federico Fellini, Luchino Visconti, and Vittorio De Sica, the film serves as a rich tapestry of post-war Italian culture, offering both satire and commentary on the changing roles of men and women in society. Its bold exploration of sexuality, societal hypocrisy, and the intersection of personal and public lives makes Boccaccio ’70 a significant film in the history of Italian cinema.
