Alright fellow tapeheads, slide that worn cassette into the VCR, maybe give the tracking a little nudge, and let's talk about a true titan of Italian comedy who, incredibly, was still going strong deep into the 90s. I'm talking about Ugo Fantozzi, the eternally beleaguered accountant, and specifically, his tenth outing: Fantozzi - Il Ritorno (Fantozzi – The Return) from 1996. Finding this on a shelf back in the day felt less like discovering a hidden gem and more like checking in with an old, disastrously clumsy friend. You knew what you were getting, but the anticipation for how things would go wrong this time was always part of the fun.
Still Finding New Ways to Suffer
By 1996, the Fantozzi formula was as familiar as the fuzz on a well-loved tape. We knew Ragionier Fantozzi (Paolo Villaggio, the absolute heart and soul of the series) would face soul-crushing indignities at his Megaditta (Mega-Company), endure surreal domestic chaos with his long-suffering wife Pina (Milena Vukotic, eternally perfect) and bizarre daughter Mariangela, and inevitably get dragged into some ill-fated scheme by his equally unfortunate colleague Filini (Gigi Reder, a comedic force of nature). Yet, Neri Parenti, who directed several of these later entries after taking the reins from creator Luciano Salce, still managed to find fresh hells for our hero.
This time, the plot (if you can call the glorious cascade of catastrophes a 'plot') hinges partly on Fantozzi desperately trying to get his driving license reinstated after a typically bewildering incident. This leads to driving school chaos that feels both specific to the character and universally relatable to anyone who’s ever stalled out on a hill start. But the film throws in a truly classic Fantozzi curveball: bureaucratic error declares him deceased. Proving he’s alive becomes just another Kafkaesque nightmare layered onto his usual struggles, including navigating the complexities of his punk granddaughter, Uga.
The Beauty of Committed Calamity
Let's be honest, you don't watch Fantozzi for intricate plotting or subtle character arcs. You watch it for the gags, the glorious, often painful, physical comedy, and the biting satire of Italian corporate and social life. Paolo Villaggio, even in his later years (he was nearing 70 here), remained astonishingly committed to the physical demands of the role. His rubber-faced expressions of misery, his signature hunched posture, the way he absorbs slapstick punishment – it’s pure comedic artistry honed over decades. You felt every bump, every humiliation, partly because Villaggio sold it so completely.
While we talk a lot about explosive practical effects in action movies here at VHS Heaven, Fantozzi films had their own kind of 'practical effect': painstakingly staged comedic set pieces. Think less fiery explosions, more Rube Goldberg machines of misfortune. The timing had to be perfect, the actors' reactions precise. Remember those intricate scenes of office life descending into pandemonium? That wasn't CGI; that was careful choreography and performers hitting their marks amidst escalating chaos. It’s a different kind of craft, but just as impressive in its way. This particular film might not have the most iconic gags of the entire series (it's tough competition!), but sequences like the disastrous attempt to prove his vitality to skeptical officials, or the run-ins with his granddaughter's questionable lifestyle, deliver those classic Fantozzi moments of sublime suffering.
A Cultural Touchstone's Twilight Lap
These films were huge in Italy. Paolo Villaggio didn't just play a character; he created a national archetype, tapping into the anxieties and frustrations of the average Italian worker in a way that resonated deeply. Finding reliable budget or international box office figures for these later entries is tricky, but domestically, they remained popular events. Fantozzi - Il Ritorno performed well upon its release in December 1996, proving the enduring appeal.
Interestingly, Villaggio based Fantozzi partly on his own experiences working at Italsider (an Italian steel company) years before. Those mundane humiliations and office politics became the seeds for decades of comedy. It adds a layer of bittersweet truth beneath the exaggerated slapstick. Knowing that makes the cringe comedy hit even harder, doesn't it?
This film also carries a touch of melancholy in retrospect. It was the final appearance of the legendary Gigi Reder as Filini, Fantozzi's partner in eternal misfortune. Reder passed away in 1998, and his absence in the final Fantozzi film (1999's Fantozzi 2000 – La Clonazione) was deeply felt. Their chemistry was lightning in a bottle, two masters of comedic despair playing off each other perfectly. Watching their scenes together here feels like witnessing the end of a very special, very funny era.
So, Does the Tape Still Play?
Fantozzi - Il Ritorno isn't peak Fantozzi – some gags feel a bit familiar, and the energy perhaps isn't quite as frantic as the 70s and 80s entries. The 90s setting sometimes feels slightly less biting than the earlier satires of Italy's 'economic miracle' years. However, Paolo Villaggio is still magnificent, Milena Vukotic and Gigi Reder are invaluable, and there are enough laugh-out-loud moments of pure, unadulterated Fantozzi-ness to make it worthwhile for fans. It’s comfortable, like pulling on a favourite old jumper, albeit one that might give you a static shock and then unravel completely.
Rating: 6.5/10
Justification: While lacking the groundbreaking impact or consistent comedic highs of the earliest films, Fantozzi - Il Ritorno still delivers reliable laughs thanks to Villaggio's unwavering commitment and some well-executed set pieces. It’s a solid, if not spectacular, entry carried by nostalgia and the brilliance of its core cast, especially poignant as Reder's last outing.
Final Take: It’s a testament to Villaggio’s creation that even ten films in, watching Fantozzi navigate the slings and arrows of outrageous fortune felt like checking in on Italy’s favourite punching bag – a comforting, cringey ritual from the twilight of the VHS era. Still capable of making you wince and chuckle in equal measure.