Baron Ferdinando CefalÃ¹ (Marcello Mastroianni) longs to marry his nubile cousin Angela, but one obstacle stands in his way: his fatuous and fawning wife, Rosalia. His solution? Since divorce is illegal, he will devise a scenario wherein he can catch his spouse in the arms of another and murder her to save his honor-a lesser offense. Criterion is proud to present director Pietro Germi's hilarious and cutting satire of Italy's hypocritical judicial system and male-dominated culture, winner of the 1962 Academy Award for Best Original Screenplay, in a two-disc DVD edition that also features a documentary on the director, new interviews with the actors and screenwriter, screen-test footage, and more. Divorce Italian Style
is a comedy milestone--a brilliant, biting satire that was originally conceived as a drama; directed with nonstop inventiveness by a filmmaker who had never done comedy; and featuring an actor who, though not even among the first dozen players considered, cemented his international stardom with this performance. The movie also marked a breakthrough for foreign film in America, winning popular as well art-house success, Academy Award nominations for director Pietro Germi and star Marcello Mastroianni, and--the first of only a few foreign-language films to do so--the Oscar itself for Original Screenplay.
On the sun-blasted island of Sicily, Baron Ferdinand "FefÃ¨" CefalÃ¹ (Mastroianni) breaks out of his heat- and boredom-induced stupor long enough to be smitten with mad passion for his 16-year-old cousin Angela (Stefania Sandrelli). But he's married--to Rosalia (Daniela Rocca), she of the unfortunate mustache--and the Italian Penal Code gives him no way out... except, of course, for catching his wife in adultery and availing himself of the patriarchal license to commit a "crime of honor." So FefÃ¨ searches for a way to fling Rosalia into the arms of another man.
Mastroianni's FefÃ¨ is an indelible masterpiece, visually and behaviorally: a portrait in painterly chiaroscuro, with brilliantined hair, eternally drooping eyelids, a cigarette holder angled in perpetual salute, and a manic, conspiratorial slouch, like Groucho Marx on painkillers. Germi's direction hustles the film along with bold, mobile camerawork, stream-of-consciousness lurches into fantasy and flashback, FefÃ¨'s feverish voiceover commentary, and a wonderfully propulsive music score by the late Carlo Rustichelli. --Richard T. Jameson