Man of office & nbsp;— view in section It's hard to think of a less politicized genre in cinema than the splatter. In fact: maniac, victim, liters of fake blood, kilometers of synthetic intestines ... Before politics here, when on the other side of the screen sits, convulsively clutching sweaty palms, a fan of gore-movies and looks forward to being shown a trick with dismemberment. All right. Some especially advanced screenwriters and directors are ready to disguise the simple square spectacle with all sorts of psychopathological research: as if someone outside special institutions is especially interested in the psychology of sadists! But to commit such a perversion and to present a socio-political pamphlet under the sauce of the insides - it was probably only possible in Italy. After all, even the banal poliziotto in its time without the policy to remove – not comme il faut was.
However, the young director Paolo Fazzini warns that his product is purely Italian. And people unfamiliar with the film traditions of this country, it is better to pass “Mad Man in Italy” – they will spit and be puzzled, getting into the not at all the session they expected. Because the story of the maniac Davide will not be about how a sick pervert senselessly mocks helpless victims. It is not a maniac who is sick here – it is a society of victorious tolerance and multiculturalism, in which a person multiplied by zero and thrown overboard is forced to frantically look for ways to return to society. And sometimes they choose not quite traditional methods.
Davide is just such a “little man”, a traditional image for literature, theater and cinema since the days of critical realism. In a post-industrial society, there is no place for it. An ordinary worker without education, a factory worker or a peasant, is no longer needed. The place of the proletarians was now taken by “office plankton”. The attendants are migrants. And the likes of Davide in modern Italy are a dumpster. But he doesn't want to landfill. He wants to be an ordinary little man. But a migrant cannot get a job because he is an Italian and is separated from the “middle class” by a mental and educational chasm. And if the second somehow can be obtained, then, to overcome the first obstacle, Davide kidnaps a representative of the “office plankton”, in order to study this completely unfamiliar species of homo in a calm atmosphere.
From the sacrifice of David there is no need for sexual satisfaction, no pleasure in her torments, no sense of superiority of the strong over the weak. He just wants to know what middle class life means. "Tell me, what were you thinking, what were you feeling, what were you talking about with your friends?" the kidnapper asks his victim. But she can't answer. After all, she just lived - on a rolled-up, and did not think about what her life looks like on the other side of the window. In fact, the connected helpless sacrifice for David is just one of the tools for understanding an alien world. After all, he takes other steps - thresholds embrace, looking for work, communicates with clerks. And the victim is like... Somewhere on the periphery of his interests. Therefore, the action goes slowly. Instead of flooding the screen with blood streams, he persistently chews over the topic: “How Europe in general and Italy in particular came to life like this!” And then Fazzini does everything to make the viewer sympathize with his hero. Well, it's not his fault! This is Merkel with the Hollandes and the European Commissioners – sadistic perverts. And maniacs are white and fluffy. David in general - just Akaki Akakievich Gogol some kind.
And only when answers to questions from a stupid representative of the managerial class cannot be obtained, and all sorts of transient circumstances invade Davida’s measured life: the death of a long-ill father, annoying creditors, obsessive pre-election agitators – the very “meat” that Sputter fans had to wait for so long begins. In the last third of Mad in Italy, there is no longer any abstract discussion of rotten Eurodemocracy and the economic crisis. There is only a lot of blood, intestines, severed fingers, roast from human beings and other “charms” of the genre. With only one but. The director did everything so that the viewer did not wake up even a shadow of sympathy for the victims of the maniac. Turning everything inside out, Fazzini made him “sick” for the maniac, and perceive the suffering of the dying at his hands as a deserved punishment. And by the way... There is no cannibalism in the film. Cannibalism is the eating of one’s own species. “Homo officium” is a different animal than “homo sapiens”. It can and should be eaten, and there is no other benefit.