The generosity can turn against you. Such is the moral of La bella gente , the second feature from Italian Ivano de Matteo, unpublished in his country. A couple of Roman intellectuals, Susanna and Alfredo, comes to spend the holidays in their home country. One day, Susanna sees a young prostitute being abused by a man at the roadside. Shocked, she convinces her husband to collect from them. But the appearance of the girl will disrupt family life to the point of bullying the ideals of Susanna.
On the same theme, the foreigner that is accepted before it becomes a threat, Anne Le Ny had done a comedy in acid and cruel Guests my father. Ivano de Matteo has opted for a more dramatic treatment of the case. Under the scorching heat of this small village in southern Italy, he filmed a family of ailments fifties seemingly harmonious and peaceful, loving "as thirty years ago" . Impulsivity Susanna, his sudden desire to save the young prostitute went certainly a good intention. But the filmmaker's subtly drift as the problems caused by the presence of this girl accumulate. For the prostitute has the misfortune to break his strict framework of silent victim by emancipating with the son of the family played by Elio Germano (Best Actress Award at Cannes for La Nostra Vita ). The hypocrisy of the bourgeoisie to moral reproach became public. Family stability falters, the certainties collapse and human nature reasserts itself. Ivano Matteao of this shift shows very precisely predictable but interesting to watch. For the girl becomes the victim of all these "good people" , a victim of jealousy, cowardice and human cowardice.
The trait is sometimes supported on a bit stereotypical secondary characters (the couple of friends uneducated and vulgar, the beautiful girl jealous, son immature) but the tension builds until the final crescendo expected and inevitable. We could blame the filmmaker to take sides openly to condemn the victim and the couple briefly, first Susanna. But the modesty of the staging would have imagined that more incisive is in fact the subject and gently accompanies this false benevolence that hides beneath less noble, where the most innocuous gestures have a dramatic impact. Boasting a remarkable interpretation (including Monica Guerritore) La bella gente , despite its few flaws (nothing is known of this young girl), deserves to be surreptitiously slipping the heart of a malaise becoming more pervasive.
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