AKA The Machine That Kills Bad People.
Another serving of neorealism from Roberto Rossellini, this time mixed with a healthy dose of comedy, The Machine That Kills Bad People is an enjoyably simple idea that allows for the director to keep everything deceptively light and frivolous until hammering home one or two main points in the finale.
Gennaro Pisano plays Celestino, a photographer who lives in a small fishing village in Italy. He encounters a man who claims to be Saint Andrea (I am still trying to identify that cast member), and is subsequently given the titular item. Taking a photograph of someone else can lead to their demise, and they will pass away in the same position as their photographed pose. With this power in his hands, Celestino could help his village by getting rid of bad people and working towards equality for all. Unless that is impossible.
Written by a handful of people, seven are credited with the story idea and development, the film works thanks to the many characters it brings onscreen to illustrate the problems that stem from judging others, as well as the problems that stem from trying to force change in a society that needs more than a metaphorical wave of a magic wand.
Rossellini directs with his usual light touch and expertise, although I say this as someone yet to explore so many more titles in his filmography, and those who appreciate his style should find this as worthwhile as anything else he helmed. It is a comedy though, albeit a dark one with a lot of social commentary, and some may be slightly put off by that. For all the praise heaped upon him, Rossellini is rarely mentioned in conversations about humour.
Pisano is a delight in the lead role, going through a number of stages as he disbelieves his new “gift”, plans how to make the best use of it, and eventually sees how his best-laid plans may be seriously flawed. There’s also an opportunistic local mayor, a number of American tourists, and one or two others who may or may not end up victims of the machine, all played well by the assembled players. And old Saint Andrea himself, an imp who spells out the main points of the film, is brilliantly portrayed by [place holder here, I WILL find out the name of this actor].
I enjoyed this well enough as the first half played out, but I incorrectly viewed it as something light and disposable. The second half really impressed me though, and made me feel slightly foolish for underestimating the skill and intelligence of those behind the camera.
8/10
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The core concept seems like something that would be good for a Hollywood movie. I guess this was one of his movies in that period that didn't have his wife Ingrid Bergman in it? Too bad.
ReplyDeleteYeah, no Bergman in this one. There are a number of his other movies on MUBI just now that DO have Bergman in them though, so I will be checking those out soon (even if I don't review them here).
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