"The Secret of Santa Vittoria" is a fun and energetic picture that works better as a comedy than as a thriller or commentary about the war. The film is set in 1943 Italy, after the downfall of fascism. The Germans have begun to take over Italy, including the village of Santa Vittoria. However, unbeknownst to the Germans, the villagers have hidden their most valuable asset (one million bottles of wine) under the guidance of mayor Bombolini (played by Anthony Quinn), who has been elected by accident. Bombolini is seen as a hopeless drunk and an incompetent fool through his wife's eyes. Quinn portrays Bombolini with gusto and as a cartoonish and larger-than-life character. He is clearly having fun with the performance. However, Bombolini is not the complete fool as some of the townsfolk regard him to be. Some of his foolishness is his façade, defensive mechanism, and performance to manipulate and fool others, such as the Germans. Strategically, Bombolini uses his wits, exaggerated mannerisms, and diplomacy to keep the wine a secret. The Germans though, are resourceful and eventually see through his façade, turning the picture into a cat and mouse game.
This picture reminds me of "What Did You Do in The War Daddy?" in that it depicts the outrageous behaviors, ways of life, and quirks of certain Italian townspeople during WW2. Both films are deliberately childish, short of seriousness, and make good use of sight gags and physical comedy. However, whereas "daddy" consists of slapstick throughout most of its running time, this film is more grounded in reality and has more to say about the war. For example, the wine represents the townspeople's hard work and is all that they have. It is a symbol for the townspeople's strength and essence. Thus by deceiving the Germans and hiding the wine, the Germans would not be able to conquer Santa Vittoria, even if they remain in the town for a period of time. The townspeople don't engage in physical or combative resistance (even though there are only a handful Germans taking over the town), but are rather engaged in an alternative form of resistance, an ideological resistance. Keeping the location of the wine a secret (no matter what, even if a martyr were forced to suffer or sacrifice himself or herself) would mean victory. In the end, I do feel a certain satisfaction in seeing the German captain (played by Hardy Kruger) being driven to desperation and defeat as he tries to find out the location of the wine. Although the Germans in the film are intrusive and commit minor atrocities, they are not nearly as oppressive, horrible, cruel, methodical, and intelligent as they should have been.
I enjoy watching the elaborate and meticulous operation of wine-hiding that unfolds (not unlike a Gold Ruberg event), which requires the unity and patriotism of all the townspeople. The film also makes good uses of its Italian locations, sets, and extras. However, I wish more time were spent on getting to know more of the townspeople.
Humor is infused occasionally and works best when the everyday life and activities of the townspeople are depicted, including Anthony Quinn's methodical and exaggerated antics in his foolish and bumbling Bombolini character (albeit possessing a commanding and likable presence), Anna Magnani's overaggressive and long-suffering wife character named Rosa, and their outlandish verbal and physical spars with each other. Some other supporting players also keep the humor alive.
There are three pairs of romance depicted in the film. One is the almost nonexistent relationship between Bombolini and Rosa, the other is between their daughter (played by Patrizia Valturri) and an educated lad (played by Giancarlo Giannini), and the last is between the local beauty and widow (played by Virna Lisi) and the local hot-to-trot war deserter (played by Sergio Franchi). The film should have focused more on the relationship between Quinn and Magnani. Their turbulent relationship is quite intriguing. I want to know more about their past. Even their marriage could have evolved more (not merely a one-note long-suffering relationship). The other two pairs of characters could have been cut out from the film without any loss, as their romances are quite insipid, unnecessary, and sappy. The characters are bores and are hardly sympathetic. Even more inappropriate are the inclusion of certain sex innuendos.
Another problem is that the film does run on a bit too long and could have been trimmed by at least half an hour. But even so, the film held my interest for most of its running time.
This picture reminds me of "What Did You Do in The War Daddy?" in that it depicts the outrageous behaviors, ways of life, and quirks of certain Italian townspeople during WW2. Both films are deliberately childish, short of seriousness, and make good use of sight gags and physical comedy. However, whereas "daddy" consists of slapstick throughout most of its running time, this film is more grounded in reality and has more to say about the war. For example, the wine represents the townspeople's hard work and is all that they have. It is a symbol for the townspeople's strength and essence. Thus by deceiving the Germans and hiding the wine, the Germans would not be able to conquer Santa Vittoria, even if they remain in the town for a period of time. The townspeople don't engage in physical or combative resistance (even though there are only a handful Germans taking over the town), but are rather engaged in an alternative form of resistance, an ideological resistance. Keeping the location of the wine a secret (no matter what, even if a martyr were forced to suffer or sacrifice himself or herself) would mean victory. In the end, I do feel a certain satisfaction in seeing the German captain (played by Hardy Kruger) being driven to desperation and defeat as he tries to find out the location of the wine. Although the Germans in the film are intrusive and commit minor atrocities, they are not nearly as oppressive, horrible, cruel, methodical, and intelligent as they should have been.
I enjoy watching the elaborate and meticulous operation of wine-hiding that unfolds (not unlike a Gold Ruberg event), which requires the unity and patriotism of all the townspeople. The film also makes good uses of its Italian locations, sets, and extras. However, I wish more time were spent on getting to know more of the townspeople.
Humor is infused occasionally and works best when the everyday life and activities of the townspeople are depicted, including Anthony Quinn's methodical and exaggerated antics in his foolish and bumbling Bombolini character (albeit possessing a commanding and likable presence), Anna Magnani's overaggressive and long-suffering wife character named Rosa, and their outlandish verbal and physical spars with each other. Some other supporting players also keep the humor alive.
There are three pairs of romance depicted in the film. One is the almost nonexistent relationship between Bombolini and Rosa, the other is between their daughter (played by Patrizia Valturri) and an educated lad (played by Giancarlo Giannini), and the last is between the local beauty and widow (played by Virna Lisi) and the local hot-to-trot war deserter (played by Sergio Franchi). The film should have focused more on the relationship between Quinn and Magnani. Their turbulent relationship is quite intriguing. I want to know more about their past. Even their marriage could have evolved more (not merely a one-note long-suffering relationship). The other two pairs of characters could have been cut out from the film without any loss, as their romances are quite insipid, unnecessary, and sappy. The characters are bores and are hardly sympathetic. Even more inappropriate are the inclusion of certain sex innuendos.
Another problem is that the film does run on a bit too long and could have been trimmed by at least half an hour. But even so, the film held my interest for most of its running time.