In the midst of the Bell Époque in Naples, Italy, the great comedian and playwright Eduardo Scarpetta dominated the box office with his plays and in particular his character Felice Sciosciammocca. He built his life and family around the theatre, involving his lovers and legitimate and illegitimate children in his work in order to build a theatrical empire that would sustain for generations. However, at the height of his popularity, he undertook a risk by staging a parody of The Daughter of Iorio, a tragedy written by acclaimed Italian poet Gabriele D’Annunzio. The parody tanked during its premiere and D’Annunzio sued Scarpetta for plagiarism, leading to Italy’s first copyright lawsuit. Qui Rido Io liberally chronicles the rise and fall of Scarpetta, his quest for justice, and how his unconventional family coped through it all.
While the English title of the film is marketed as The King of Laughter, Qui Rido Io actually translates to “Here I Laugh,” which better encompasses Scarpetta’s ego and charisma as embodied by the wonderful Toni Servillo. The phrase comes directly from Scarpetta himself; he had the motto engraved on the side of a small castle he commissioned to be built from the proceeds of one of his plays. Servillo captures Scarpetta as a brash but charming figure who revelled in his wealth and popularity, but harboured insecurities over his lack of acceptance by ‘elitist’ artists, such as D’Annunzio, who regarded Scarpetta and his form of entertainment with haughty disdain.
Writer/director Mario Martone and his co-writer Ippolita di Majo are effective at incorporating a larger discussion about elitist art culture versus popular culture into the story through Scarpetta’s shifting behaviour around the elitist art community and through his decline in popularity during the lawsuit. Servillo uses his body language and mannerisms to display Scarpetta’s deferential behaviour when first introduced to the great D’Annunzio, and later to show Scarpetta’s unwavering infallibility and bravado in the face of the writers who snub and accuse him, all loyal D’Annunzio fans. However, as the legal proceedings drag on, Scarpetta loses public popularity and relevance; the wheel of fortune keeps turning, and just as Scarpetta rose to replace Pulcinella as the king of theatre, so other actors replace Scarpetta in turn. Servillo showcases Scarpetta’s transformation from a loud, confident character bursting to make his presence known into a melancholic, haunted figure hiding in shadows and riddled with self-doubt. His empire crumbles around him as family and friends flock elsewhere in the industry, and even those who claim they want to help him undermine his work and self-worth in the process.
Fortunately, Scarpetta learns to own his identity and his work, regain pride in what he does, and poke fun at the absurdity of ‘elitist artists.’ He has the last laugh, drawing on his theatrical talents to transform court into another successful stage performance in a scene that also speaks to the value of popular art entertainment as valid art culture. Furthermore, Scarpetta’s legacy lived on through three of his illegitimate children—Eduardo, Titina, and Peppino De Filippo (played by Alessandro Manna, Marzia Onorato, and Salvatore Battista, respectively). In a meaningful twist, Eduardo De Filippo grew up to become a successful playwright and screenwriter adored by both the public and ‘elitist’ community.
Martone’s extensive background in theatre serves Qui Rido Io very well. The film intentionally creates a viewing experience that often feels like a hybrid between theatre performance and movie due to its use of theatrical production design as well as careful staging and choreography of the ensemble cast, whether “on stage” or in one of Scarpetta’s over-the-top houses. There are also references to Scarpetta’s works reflected in specific narrative aspects of Scarpetta’s family life.
The film contains a strong ensemble cast. Like Servillo, the actors who play Scarpetta’s extended and unusual family are quite expressive and infuse the film with energy and life. In particular, Cristiana Dell’Anna, Maria Nazionale, and Alessandro Manna shine in the ensemble as Luisa, Rosa, and Eduardo de Filippo, respectively.
Qui Rido Io is a lively and thoughtful film that engages viewers from start to finish and pays tribute to the king of theatre, Eduardo Scarpetta. The film premieres in competition at this year’s Venice Film Festival.
Score: A-