Il Sorpasso (The Easy Life) (1962)
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Ettore Scola and Ruggero Macari wrote this memorable comedy/drama about an arrogant, hedonistic roadhog who takes a shy young student on a wild--and tragic--ride. (Alternate title: Il Sorpasso)
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Critic Reviews for Il Sorpasso (The Easy Life)
When I first saw it 25 years ago, I couldn't wait to see it again right away. I've been waiting ever since.
It's a sunny, lazy day in early-1960s Rome - the city is "like a graveyard," with everyone away on holiday.
Yes, the frame is filled with the era's bikini-clad pulchritude, but the fuel here is primo neurosis.
Risi proves to have a deft sense of managing the intertwined humor and drama of his incredibly complex characters
Bruno and Il Sorpasso are full of wonderful surprises and hidden depths, and they continually slip away from any attempts to reduce them.
Audience Reviews for Il Sorpasso (The Easy Life)
Hysterical satire with wonderful dialogue and two excellent performances, Trintignant is a quiet and absent minded youngster, and Gassman is his mischievous, older but less mature counterpart, they meet one morning, take a country ride and enjoy the best weekend of their lives.
Dino Risi's masterpiece.
"Il Sorpasso" starts with Bruno(Vittorio Gassman) driving into a nearly deserted Rome from Amalfi. While there, he asks to use the phone of Roberto(Jean-Louis Trintignant), a law student, who hesitatingly agrees. It is then that Bruno remembers that he is already an hour late for a date. So, he takes his new friend away from his studies to find lunch somewhere which is a tricky business, considering this is the August holiday. So, they head to to the city outskirts where instead of food, they discover a couple of cute German women heading in the same direction and accidentally follow them into a graveyard...
I had always suspected the buddy road comedy had been around a good long time, considering how stale it has grown. Well, in 1962, the idea was still fresh and "Il Sorpasso" is definitely an entertaining take on that idea.(And, oh my, that ending!) Or maybe it's not quite the plot that really matters, as decently executed as it is, with its share of unpredictability especially concerning Bruno's back story, but rather what it has to say about postwar Italy and not only in the obvious comments about Italian drivers.(A record player as an optional extra?) What we have here is a country torn in two different directions, going forwards so quickly that it forgets what happens two seconds in the past. And it's funny to see how wrong Bruno is about the future. Plus, contrary to him and "Back to the Future 2," we are always going to need lawyers and people like Roberto to do the thinking.
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