Plot: What’s it about?
Alessandro (Lou Castel) is part of a family riddled with dysfunction, one so troubled, only one member has managed to remain above the woes. The only sane one left is Augusto (Marino Mase), Alessandro’s older brother who has to make sure the household remains intact. As the rest of his family is less than sane and has immense problems of their own, Augusto is burdened to keep things under control. Alessandro doesn’t want his brother to be held down by his family’s troubles, so he wishes to free him from all those responsibilities. After all, Augusto won’t abandon his family just to pursue his own life, so Alessandro plans to ease the burdens himself. His brother usually serves as driver for the family, but Alessandro plots to be behind the wheel on one occasion and drive himself and his family off a cliff. With the entire family dead, Augusto will be free to go after his own interests and not feel bad for pursuing his own goals. But things don’t go as planned and Augusto learns the plan beforehand, though he resigns himself to the outcome. His plan in ruins, Alessandro turns his attentions toward his own needs, but what will he do to secure his own goals?
This movie skewers two of the most sacred elements you’ll find, the family and the church. I like to watch as filmmakers explore the relationship dynamics in different ways and here, director Marco Bellocchio has a unique slant on family life. As a lot of audiences desire happy endings even in the most unlikely scenarios, I was pleased to see this wasn’t that kind of saccharine melodrama. No, Bellocchio takes us inside the household as it sinks into complete oblivion. The financial and emotional ruin of this family is shown with no restraint, not to mention the burdens are of their own actions. Kind of a “you made your bed, now lie in it” on a grand scale. The interactions between the family members, even as the walls crumble around them, are well crafted. The film can be perverse and a touch sadistic at times, but there is a lot of black humor injected, which makes it more bearable. In other words, don’t look for inner good in these folks, you won’t find a single drop. Bellocchio showcases a brisk pace and some bold stylistic choices also, both in terms of visuals and in content. This is a fine addition to The Criterion Collection, a brave film that still holds up even after over forty years. Although not as loaded as some Criterion releases, the movie looks excellent and that is the real concern. I can’t justify the full retail price, due to the lack of bonus elements, but a rental is well recommended.
Video: How does it look?
Fists in the Pocket is presented in 1.85:1 anamorphic widescreen. I knew this would look good, but it is even better than expected, some terrific work here indeed. I wouldn’t say this is a pristine, reference level treatment, but it is the best I’ve ever seen the flick look on home video, so I am most pleased. The print looks very clean, with minimal debris and other problems, so the image is allowed to shine and that it does. The black & white looks great and shows more sharpness than expected, which is always good news. Another great looking transfer from Criterion, who know how to handle these wonderful pictures.
Audio: How does it sound?
There just isn’t much to discuss here, as the included Italian mono option is good, but won’t turn any heads, of course. This is a dialogue driven movie and that means mono is more than adequate, no real problems seem to surface here. I heard no hiss or distortion of any kind, which is good news with a flick of this age, to be sure. No errors in terms of dialogue either, which is crucial and all, since this is a movie dominated by dialogue, to be sure. Not much else to report to be honest, although optional English subtitles were included, should you need them.
Supplements: What are the extras?
This disc includes some new cast & crew interviews, as well as the film’s theatrical trailer.
