Il Posto (1961)

Many consider Ermanno Olmi's semi-autobiographical film to be one of the masterpieces of Italian cinema. While I can't quite give so historically potent of a response, it certainly is an exceedingly enjoyable film. Paying its dues (loosely) to the Neorealists, Il Posto actually sparkles with the cinematography of the French New Wave. This is a comfortable marriage of style, and creates the perfect cinematic environment for Olmi's frighteningly perceptive exploration of the awkwardness of youth, or rather, the awkward situations said youths are required to navigate.

The film stars amateur Sandro Panzeri as Domenico, a young man recently graduated from middle school and recruited in a mass-interview for a large company in Milan. He gets the job (though a much lower position than he was promised), as does the attractive young girl he meets at the interview, and from thence must negotiate awkward office parties and other embarrassments. The film sags slightly when Olmi turns his focus from Domenico towards the bleak lives of his co-workers and the soul-crushing corporation they work for. The pleasure in the film lies in Olmi's startlingly accurate depiction of the strange little moments that populate any coming of age. Deciding to go into an espresso bar for what is clearly their first time, Domenico and his office crush (Antonietta) smirk at each other nervously, watching others to see how exactly they are supposed to pay, and where to put their empty cups. The care and perceptiveness of the scene immediately calls to mind selected Louis Malle or The 400 Blows.

The climax of the film is a wonderfully photographed New Year's Eve celebration thrown by the company. After attaining his reluctant father's permission, Domenico practically gallops to hopefully see Antonietta at the party. The excitement of rushing somewhere to see that special someone is cruelly deflated as he stumbles into a room empty save a few old couples and a band playing for no one in particular. And it gets better from there. Unfortunately, after this really exceptional sequence, Olmi's film sort of quietly deflates as well. Despite the opinions of much smarter people (who you should probably listen to instead), I found the ending an unsuccessful attempt at social commentary that proved a poor conclusion to the delicately expressed emotions that preceded. Still, this remains essential viewing for its wonderful performances, and thoughtful direction.