Just out in Italy, Gorbaciof, the latest starring vehicle for Toni Servillo, who seems to appear in just about every international success that’s coming out of Italy at the moment (and OK, there aren’t many of them…) This has been floating around for some time now, but has had decent distribution, showing in just over a hundred cinemas.
Here’s the review from Cineuropa:
Can you make a film about a character’s way of walking? Judging by Stefano Incerti’s new film Gorbaciof, shown out of competition at the Venice Mostra, the answer would appear to be yes: as long as the footsteps are not those of just any actor, but of a true “master” performer like Toni Servillo. After the curved, stooped gait of Giulio Andreotti in Divo, based on the man himself, this time the actor tries out a highly original, bold and speedy walk: that of Marino Pacileo, who has sideburns and long hair spruced up at the back. He is known as Gorbaciof (with an f, and the emphasis on the second o) due to the prominent birthmark on his forehead.
Gorbaciof works as treasurer at Poggioreale prison, in Naples: everyday, in his close-fitting jacket, he goes to work, sits down at the counter and cashes in the cheques from the prisoners’ relatives. Pacileo talks little, and in the same way he walks: so quickly he clips his words (he first speaks more than ten minutes into the film).
He doesn’t talk, he gambles. His vice is poker, and to be able to afford it he “dips into” the prison coffers, caught in the grip of gambling and a guard (Nello Mascia) who knows everything and turns a blind eye, but sooner or later – let’s bet on it! – he will ask him for something in return.
Such is Gorbaciof’s life, until he meets and sets his sights on Lila (Mi Yang), the daughter of a gambling acquaintance, “the shark” Geppy Gleijeses. Who could be better placed than Servillo to know that you must beware of the consequences of love? But even this time, like in Paolo Sorrentino’s film, the protagonist is swept away by his feelings and drawn into a spiral of shady activities.
Gorbaciof was co-scripted by the director and screenwriter Diego De Silva, before being re-written purposely for Servillo – who more than ever gives a scene-stealing, subtle performance.
The film, explains Incerti, “starts out as a tale of urban loneliness, and ends up a little moral tale, a parable”. The backdrop of Naple’s Chinatown provides a setting for a love that needs no words.
Likewise, the director doesn’t feel the need for stylistic flourishes (Pasquale Mari’s cinematography is, nevertheless, stunning) or directorial virtuosity, preferring to focus on his protagonist. This risks making Servillo carry the whole weight of the film on his (admittedly strong) shoulders.
One thing to note about the cast: Hal Yamanouchi, who was in all those post-apocalypse films from the early 80s, has a prominent role!