frodo_unplugged Oh boy, this was made almost forty years ago and - what a surprise! - we are basically still stuck in the same traffic jam. Only today nobody bothers anymore with the whole anti-consumerism shtick, mainly, I suspect, because we have bought this lifestyle hook, line and sinker, ingesting it to a degree that it has now become our second nature. So, here's a lot to like and a lot to learn, social commentary not only on Italian but most of our contemporary Western societies. But be prepared, I am by no means a squeamish viewer, but there is this one scene where a strong, independent, likeable female character is gang raped by three devilishly handsome yuppie guys in the back of a baby food truck. All the while, four old guys armed to the teeth watch on as if the spectacle was put on display solely for their own amusement. I found this hard to swallow and putting a somewhat sour note on an otherwise provocative, critical but also thoughtful and clever movie. On the other hand, if you compare this movie to the utter politically correct drivel we are served nowadays in multiplexes everywhere, it feels almost like a breath of fresh air, despite the toxic fumes emanating from its mega congestion.

MARIO GAUCI I haven’t been aware of this film for very long, one which I mentioned fairly recently while discussing Jean-Luc Godard’s WEEK-END (1967) with Michael Elliott in this very thread; I’ve now acquired it on DivX in a slightly trimmed version (113 minutes against the official 121), having learnt of the mixed reception to its DVD release in Italy (due to said length issues and dirt-riddled video).It features a remarkable cast of international stars: (in alphabetical order) Gerard Depardieu, Patrick Dewaere, Annie Girardot, Ciccio Ingrassia, Marcello Mastroianni, Miou-Miou, Angela Molina, Fernando Rey, Stefania Sandrelli, Alberto Sordi and Ugo Tognazzi, plus a host of other interesting supporting characters (including Pupi Avati regular Gianni Cavina). Luigi Comencini is an underrated Italian director, of whose work I’ve seen – not too long ago – EVERYBODY GO HOME (1960), Italian SECRET SERVICE (1968) and THE CAT (1977); I’ve also just acquired his BEBO’S GIRL (1963) which, at the time of release, counted Jean-Luc Godard among its admirers! Anyway, this savage black comedy (on which Bernardino Zapponi, Fellini’s regular screen writing partner around this time, had a hand) could perhaps have hit its satirical targets better – and it would have been even funnier with a greater director (say, Luis Bunuel) at its helm but it’s nevertheless well enough done; incidentally, Bunuel’s own son Juan Luis did actually serve as a second-unit assistant director on this Italo-Franco-German production! Several good (and a few memorable) vignettes abound: arrogant lawyer Sordi, accompanied by his long suffering assistant Orazio Orlandi, looking for an uninhabited place to take a crap among the car wreckages; poor man Cavina knowingly bartering his sexy wife Sandrelli for a night with stranded actor Mastroianni in return for a job as chauffeur to the stars at Cinecitta' and even intimating at blackmail due to the actor’s eventual non-performance in bed; Molina’s three-way rape in a delivery van caught in the traffic jam is witnessed by four aging and passive would-be vigilantes; Rey and Girardot, as a couple on their Silver Wedding Anniversary holiday quarreling bitterly (and bringing up their infidelities out into the open) about lost keys to their front door which were in Rey’s possession all along (although he slips them back into her handbag when she’s not looking); Dewaere’s chain-smoking manic depressive perennially hung up on his girl; a bald-headed man’s foul-mouthed aggression on his car is ‘silenced’ by a meek driver (by the end of the film, then, their positions are virtually reversed); Depardieu forever threatening to throw himself under the stationary(!) cars when he finds out that his wife (Miou-Miou) is Professor Tognazzi’s lover; still, the funniest bit is perhaps Rey’s insults traded with a reckless driver two cars away from him which is ‘passed on’ by a mild-mannered middle-man. Fiorenzo Carpi contributes the simple and sparse, yet highly effective, brooding music score.

Damon Gruber Due to some other's comments, I decided to rent "L'ingorgo", hoping to see a real Italian styled "black comedy", a reflex of the early '50s Cinema d'Autore that left us many jewels, mixed with '70s socio-political satire.Instead, I had to watch a boring, tedious and even violent piece, filled with excellent actors and actresses, that in the beginning was truly promising, but then became a long, exasperating show, with no specific purpose.Particularly shocking is the scene of a rape, committed by 3 guys, and witnessed by others who, instead of stopping it by shooting their firearms to the air, discussed if it was worth watching it or not. Well, by the way the film turned, it's a relief the authors didn't choose to make those witnesses participate in the multiple rape.I didn't understand what Marcello Mastroianni's character meant, or why some things happened without consequences (the rape, the sacking of a truck, some crazy drivers, discussions, etc.).It didn't seem a "written" movie, but a spaghetti incident of talents mixed up like the traffic jam itself, and left alone with some cameras and microphones open as they moved and talked.If that was the purpose of this film, then I didn't quite get it like that.

Gerald A. DeLuca "Traffic Jam" is a grandiose black comedy which is a little bit of Fellini's "Roma", Godard's "Weekend, and Bunuel's "The Discreet Charm of the Bourgeoisie." Along a Roman highway there is a monumental traffic jam that lasts 36 hours. We get to witness the dramas, personal and public, of a group of people in this pile-up of vehicles, an image no doubt to be taken as a microcosm of an aggressively cut-throat world. It is a movie that is in turn tongue-in-cheek, riotous, clever, and just plain funny. Extended cameo roles are provided by Alberto Sordi, Marcello Mastroianni, Ugo Tognazzi, Annie Girardot, and Angela Molina. It is a good example of "commedia all'italiana", a genre that combined rib-tickling humor with savage satire.