In the introduction by Fefé the audience learns through his words, the camera, and the actions of the characters that societal progress does not seem to be high on the agenda.  Instead the audience learns about how politics and the Catholic Church seem to be intertwined in this small town.  The slow progress has generated some very rigid guidelines, which no one seems willing to challenge.  In this societal stalemate the men only seem to pay attention and gossip about one thing – women.  This is essential information, as it depicts the boredom that helps the withering of the flowers.

The story goes into great detail to depict Fefé's monotonous life.  He is unemployed due to social status because he is a Baron, which means that he often sleeps in.  Whenever he does not sleep his exceedingly caring and nurturing Rosalia tends to his needs while it actually seems as if she is only annoying him.  There is a wonderful scene where Fefé escapes everyone to read in peace and enjoy the soothing  breeze from a small fan in his study while Rosalia enters with coffee and turns off the fan.  Fefé turns the fan on again while Rosalia turns it off with a smile, as she serves him the coffee.  This scene oozes of tension between the two while Fefé keeps his cool and Rosalia tries her best to be a good wife. Yet, it offers him an opportunity to begin to imagine different methods of how he could kill her. 

In between Fefé's annoyance and boredom he discovers the stunning teen Angela (Stefania Sandrelli) whom infatuates him with a brief look at mass.  Fefé begins to think about Angela while he sneaks to the bathroom to steal a peak at the youthful girl through the window.  Eventually, Angela expresses her mutual desire for Fefé, but they have to be careful so they do not cause a scandal, or worse.  This provides an opportunity for Fefé to begin to actually think of how to get rid off Rosalia, which turns out to be a comically ugly event as he cannot divorce her by law.

The audience will feel empathy for Rosalia who tries to be a good wife, but Fefé does not allow it by being distant.  Simultaneously, one cannot help to feel understanding for Fefé who now begins to study the law and how he possibly could get away with murder.  It is a sad thought, even though the presentation of the topic is jovial, that the people are ready to commit the worst possible act in the name of love.  Yet, it is also here where the film's strength lays, as it delivers a funny depiction of how a passé society can squelch life and frown upon societal progress, which was a big deal in the 1960s.  A notion arises in regards to progress--should one have the freedom to find their own blossoming flower?

Divorce Italian Style offers a well-written and genuine comedy with deliberate intentions for the audience to ponder regarding the society and the social restrictions that govern the unhappy.  The cast does a marvelous job in portraying the different characters.  For example, Daniela Rocca's illustration of Rosalia provides authentic view of a woman who seeks love form her husband, but does not receive it.  In addition, Marcello Mastroianni does a brilliant job through his dual performance in the film by also being in the Fellini's La Dolce Vita, which is shown in the film.  However, Mastroianni's visual persona suggests his infatuation with beautiful women that can be explored if one views La Dolce Vita.  Lastly, the camera work, mise-en-scene, and the framing of each scene enhance the complete ideas, as they transcends the expectations of the film.

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COUNTRY

Italy

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