China Is Near [1967]

 Marco Bellocchio’s second film China Is Near retained the wild farce and blasphemy of his astounding debut feature Fists in the Pocket. If it was slightly less feverish and feral, it was as unapologetically offensive and risqué, and upped the satirical ante and ribald buffoonery while delivering a Molotov cocktail aimed at political, social, religious and sexual mores. In a fascinating coincidence, Godard’s dazzling gem La Chinoise and this – which released in the same year – didn’t just share zany humour, anti-bourgeoise filmmaking, Maoist references and impudent nonconformity, they even shared the Special Jury Prize in that year’s Venice Film Festival. Its principle targets are three siblings belonging to a hideously funny family of affluence and aristocracy in a provincial Italian town – Vittorio (Glauco Mauri), the rotund eldest brother, has tried his hands with various centre-left political options and has presently settled for the Socialist party to escape his guilt, look progressive and attain power; Elena (co-writer Elda Tattoli), the middle-aged, promiscuous and still glamourous sister, loves taking young partners from lower social classes, while ensuring that they never stake claim to her wealth; and Camillo (Pierluigi Aprà), the repressed and unhinged youngest of the lot, has started a three-man hardline Maoist cell to combat his dilemmas with aristocracy and Catholicism. Meanwhile, Carlo (Paolo Graziosi) and Giovanna (Daniela Surina), former lovers and belonging to the working-class, begin a scheming journey up the class chain, as the former seduces Elena while the latter decides to succumb to Vittorio’s ogling, hoping to marry rich. Splendidly shot by Tonino Delli Colli in baroque B/W and idiosyncratically scored by Ennio Morricone, it featured public brawl, fratricidal assassination attempt, failed abortion and other assorted craziness.

Director: Marco Bellocchio

Genre: Comedy/Black Comedy/Political Satire/Social Satire/Romantic Comedy

Language: Italian

Country: Italy