Set in 19th century Rome, specifically in 1809, during Napoleon’s ascension, the film follows the vicissitudes of Onofrio Del Grillo (Alberto Sordi), a Roman Marchese.
Il Marchese Del Grillo, released in 1981, is one of Mario Monicelli's most brilliant and famous comedies. The movie is set in 19th century Rome, specifically in 1809, during Napoleon’s ascension, and it follows the vicissitudes of Onofrio Del Grillo (Alberto Sordi), a Roman Marchese. A “Marchese” is a noble title given to someone who has received lands to administrate – called “marca” – because of services rendered to the Pope. (A curious fact: the Italian region of Marche derives its name from the fact that, in the past, it was destined for this use.) The protagonist, despite his noble origins, is a “new man,” distanced from his traditional and bigoted family. He lives as a viveur in the capital, where is he is well known for his jokes and pranks (some of the most memorable of which he plays on members of his family and even on the Pope himself). Thanks to his rank, “Sor Marchese” Del Grillo moves between different versions of Rome: between the rich and the poor, the outcasts and the Pope, the kings and the castaways. Monicelli shows us the virtues and vices of the most representative institutions, the hypocrisies and contradictions of old noble Rome.
The protagonist descends into popular Rome, among the clochards or brigants (vagrants and bandits), showing us some old Roman customs. For example, he depicts life in the taverns, where patrons eat typical Roman dishes, drink wine, play card games, and scuffle. For this reason, the movie is permeated by “Romanity,” in its customs, manners, and language. We often hear picturesque low language, with words such as “(a) ‘burino,” which originates from farmers coming into the city to sell “burro” (butter), and which is a typically offensive appellative meaning “a stupid, vulgar person.” Another term is “mignotta,” which might etymologically stem from “madre ignota” (unknown mother) and which is a Romanesque insult against “prostitutes.” (A related insult is “Fijo de na mignotta,” which can be more or less translated as “Son of a b****,” though it can be used in a funny and friendly way too!)
Besides the Roman speech, there are also some other accents, such as Pugliese. Among the featured outcasts is Don Bastiano, played by Falvio Bucci. He is an excommunicated priest who has become a “brigant” (bandit) and who speaks in a typical Pugliese accent from the provinces of Foggia and Bari. For instance, he calls the French “franzòsi” instead of “francesi.” The movie takes ironic jabs at social institutions, justice, traditions, the arts, and (obviously) religion. As happens in his other movies, Monicelli presents his sarcastic vision of the era. Onofrio Del Grillo is “inside” certain institutions but “outside” of them at the same time. He is an outcast among the nobles of Rome – for example, he seems to be the only one who believes in justice – but he’s always disenchanted, lucid, with an acute and realistic perspective on things. After a rumble in a tavern, he explains frankly, “Perchè io so io, e voi nun siete un cazzo” (Because I am I, and you are nothing). Il Marchese del Grillo is undoubtedly a brilliant movie. In the years since its release, it has become one of the most appreciated works by Monicelli, along with L’Armata Brancaleone, Amici Miei, and La Grande Guerra, and it also includes one of the most exuberant and memorable turns by Alberto Sordi in Italian cinema.
