The Italian film industry in the 1980s faced a significant downturn, affected by changing cultural landscapes and media trends. A once-flourishing sector renowned for its neorealism and avant-garde cinema was impacted by an emergent media form that diverted public interest and financial support: commercial television. This phenomenon wasn’t unique to Italy. Countries with strong cinematic heritages, such as Japan and France, similarly saw their traditional film industries struggle as commercial television reshaped entertainment, drawing audiences away from cinemas and reshaping their cultural landscapes.
The Rise of Commercial Television and Its Impact on Italian Cinema
The rapid popularity of commercial television in Italy changed the dynamic of entertainment consumption. With readily accessible, affordable, and diverse content available at home, audiences flocked to this medium for their daily dose of entertainment, resulting in fewer cinema-goers. Italian filmmakers, accustomed to crafting films that attracted large audiences to theaters, suddenly found themselves competing with a media giant that had a daily presence in people’s lives. Traditional Italian cinema, characterized by realism, nuanced storytelling, and deep social and political commentary, struggled to resonate with audiences now more inclined towards quick, light-hearted television programming.
Decline of Italian Comedy and Isolation of Cinema d’Autore
The 1980s also saw a noticeable shift in Italian cinema genres, particularly with the disappearance of the Italian comedy—a staple of the 1950s and 1960s that had deftly combined humor with social critique. Italian comedy struggled to adapt to the more diversified audience tastes created by commercial television, which offered content more reflective of modern-day issues. At the same time, cinema d’autore (auteur cinema)—films crafted by directors with a distinctive artistic vision—became more isolated. Italian auteurs struggled to find an audience, as their unique styles and thoughtful narratives were often out of sync with the lighter, faster-paced television programming that dominated the decade. The influx of auteur films that emerged in the 1980s found limited distribution, restricted primarily to niche, film-loving audiences.
Notable Films and Filmmakers of the Early 1980s
Despite the challenges of the era, Italian cinema still produced some remarkable works in the early 1980s, many of which have left a lasting legacy. One of the most celebrated auteurs of this time was Federico Fellini, who contributed significantly to the period with works that explored society, memory, and surrealism. Some of his notable films from this decade include:
•La città delle donne (1980) – This film took a surreal look at gender roles and feminism, a topic of increasing relevance.
•E la nave va (1983) – Fellini crafts a metaphor-laden tale aboard a cruise ship, symbolizing Europe on the brink of World War I.
•Ginger e Fred (1985) – This film reflects on the growing influence of television and the fading charm of the old-world entertainment industry.
Italian auteur cinema continued to thrive with other acclaimed directors as well. Ermanno Olmi’s L’albero degli zoccoli (1978), though released just before the decade, set the stage for the 1980s. This beautifully filmed tale of rural life won the Palme d’Or at Cannes and became one of the most cherished examples of Italian realism, inspiring many of the decade’s filmmakers.
Another key work was Una giornata particolare (1978) by Ettore Scola, a poignant drama featuring Sophia Loren and Marcello Mastroianni, exploring the isolation of marginalized voices during the fascist era.
Emergence of New Voices and Shifting Genres
Italian cinema of the 1980s also introduced new directors with fresh perspectives. Nanni Moretti emerged as a unique auteur voice, bringing both humor and introspection to the screen with works like:
•Bianca (1984) – A dark comedy exploring relationships and moral dilemmas.
•La messa è finita (1985) – An introspective drama focused on religious and social issues.
Directors Paolo and Vittorio Taviani, known for their exploration of historical themes, presented La notte di San Lorenzo (1982), a visually stunning depiction of rural life and resistance in wartime Italy. Francesco Rosi’s Tre fratelli (1981) addressed family dynamics against a backdrop of Italian political turmoil, adding depth to the era’s filmography.
Hollywood Influence and International Recognition
Italy’s cinematic contribution in the 1980s extended to Hollywood as well, where directors like Sergio Leone and Bernardo Bertolucci made waves. Leone’s Once Upon a Time in America (1984), an epic crime drama about Jewish gangsters in early 20th-century New York, though not entirely made in Italy, brought Italian cinema’s flair to American audiences. Bertolucci achieved international acclaim with The Last Emperor (1987), a biographical epic about the last emperor of China, winning nine Academy Awards and establishing Bertolucci as a globally respected filmmaker.
Italian Comedy and Rising Stars
Although Italian comedy lost some of its earlier prominence, it was still represented by directors and actors who adapted to the new times. Massimo Troisi, a beloved comedian, rose to fame with films that resonated with younger audiences. His notable works include:
•Ricomincio da tre (1981) – A light-hearted exploration of life and love.
•Scusate il ritardo (1983) – A film about personal growth and relationships.
•Non ci resta che piangere (1984) – A whimsical time-travel comedy co-starring Roberto Benigni.
Other key figures in Italian comedy were Carlo Verdone with Compagni di scuola (1988), which humorously portrayed the reunion of old classmates, and Mario Monicelli with Speriamo che sia femmina (1988), a satire on Italian family dynamics. Roberto Benigni also made a mark internationally with Il piccolo diavolo (1988), which co-starred Hollywood’s Walter Matthau and showcased Benigni’s unique comedic style.
Experimental Cinema and the Work of Franco Piavoli
The 1980s also witnessed unique contributions from experimental filmmakers. Franco Piavoli, a self-taught director known for his poetic style, presented a new approach that deviated from traditional storytelling. His debut Il pianeta azzurro (1982) offered a meditative view on nature and existence, favoring sounds and visuals over dialogue. Later, with Nostos: Il ritorno (1989), Piavoli reinterpreted Homer’s Odyssey, creating a dreamlike experience that was both innovative and profoundly Italian.
Conclusion
The 1980s were a turbulent yet fascinating period for Italian cinema, marked by both challenges and creativity. The advent of commercial television and changing audience tastes had a profound impact on Italian filmmakers, pushing them to adapt or, in some cases, retreat. Nonetheless, the era produced memorable films and new voices that have left an indelible mark on cinema, both in Italy and internationally.