Gian Marco Tognazzi, in vino libertas

This article is published in number 10 of Vanity Fair on newsstands until March 9, 2022.

It is a seemingly mundane moment in Once upon a time there was crimethird chapter of Massimiliano Bruno’s saga inaugurated three years ago with We just have the crimewhich sums up well the spirit with which Gian Marco Tognazzi, for all Gimbo, deals with work and even life. The protagonists (he, Marco Giallini and the new entry Giampaolo Morelli), this time over in Mussolini’s Italy and the armistice, pose to take a photo “that remains in the history books”; but a fly arrives, Gimbo tries to chase it away and so it remains imprinted in everlasting memory: with a slap in the face. We had left him alias Luciano Spalletti in the Totti-biopic I was hoping de died first, we find him now and he is still the voice of the Giallorossi coach, «when you have him inside, you have him inside», he laughs. Now it surprises again, even if his Giuseppe is a very well-established role for him. Or maybe because he worked on it in an unexpected way. “Sometimes you too are amazed by reading
the script, you have the perception that that film will be good. And when writing and realization come together, as in this case, it is exciting ». We agree.

«It is a role that is dear to me, a gift that Massimiliano gave me: he has the incredible ability to create a link between drama and Italian comedy that always surprises me. Therefore he is sorry that Once upon a time there was crime come out in a complicated period. People are regaining their freedom, but it is still a limited freedom, for some, staying in the room for two hours with a mask is also a psychological effort. The communication on the pandemic immediately established that cinemas and theaters were dangerous places: that message remains, and it makes me angry ».

The real surprise is the revelation of Joseph’s sentimental side. In general, it’s not an element often present in his characters.
“Gabriele Muccino (At home everyone is fine, ed), and that tender and forced relationship with Giulia Michelini. But it’s true, it doesn’t happen often. I liked that it happened to Giuseppe, and moreover with Carolina (Crescentinied), which for me is like a little sister ».

Why doesn’t it happen often?
“I think it’s a coincidence. Or maybe it’s a filmmakers’ perception problem: when there are sentimental stories tout court, the choice hardly falls on me. For my part there is no foreclosure: I remember a bizarre love story – a collector of women met through newspaper ads who then obviously falls in love – that I made in ’99 with my brother Thomas, SOS. Now Thomas, who is the least known of us brothers, is the star of the family, he has produced The worst person in the worldthe Norwegian film nominated for an Oscar, and we are unable to intercept it in this year of Ugo’s centenary because he has an ongoing campaign, he goes to London, then to Los Angeles… ».

Returning to the balance between drama and farce, it seems to be an engine that drives her as an actor as well.
“There are preconceptions about Italian comedies that bother me: sometimes, as in this case, they are not limited to mere entertainment. But the stereotypes you read on social networks are now a verb: we are a country where, if you say one thing, you have to point out that it was true even when they proved it wrong. Social networks fascinate me, but they are also the mirror of the indifferent people we have become. I read a pre-emptive comment on this film that said: “I don’t think it will be Rome open city“, I had to answer:” Come on, really? “. I don’t like extremisms, and not because he’s a democrat, on the contrary (laughs, ed). It is that in every extreme position I can find truths, so it is difficult to put myself on one side only. It goes for everything: even in football I find myself arguing more often with the fans of my team (AC Milaned) than with the opponents “.

The generation of his children with social media was born there. How do you live it?
“It is subjective. We from our father have learned, without teaching, to make our mistakes. He left us in the face of free choice, and that’s what I try to do with my children. I cannot stem the time they live or make them cut off from social networks and phones. The other day Tommaso said to me: “Dad, do you think there is really the danger of a war?”. He amazed me because he is nine years old, and I would never have asked such a question at that age. What do I get from it: that my son is a genius? No! That his generation receives information differently. And that – as with my daughter Andrea, who is 15 – we have established a relationship for which, if she has a doubt, she is not ashamed to ask me questions like this, which is very nice ».