The power of Italian cinema during the 1950s and 1960s is vividly reflected in the lexicon of cinephiles worldwide, particularly through terms that describe the various exploitation genres that flourished during this era. Among these groundbreaking works, one film stands out as a progenitor of an entirely new genre: Mondo Cane (1962), directed by Gualtiero Jacopetti, Paolo Cavara, and Franco Prosperi. This documentary is widely regarded as the first in the so-called "mondo films," a term that has evolved into what audiences today might refer to as "shockumentaries."
Initially conceived by Jacopetti as an "anti-documentary," the title Mondo Cane translates literally to "dogs' world" in Italian, encapsulating a sardonic view of human existence and societal norms.
The structure of Mondo Cane is notably disjointed; it lacks a coherent narrative and instead presents a series of vignettes showcasing diverse events, locations, and customs from around the globe. These segments are loosely connected through the film's narration, which serves to guide viewers through this kaleidoscopic journey.
Each vignette shares little in common beyond their intent to shock or titillate viewers, often employing graphic violence, nudity, bizarre culinary practices, and unusual funerary customs. These elements are designed to provoke reactions from audiences, particularly those from Western cultures who may find such practices exotic or distasteful. The filmmakers exploit this curiosity by presenting content that challenges viewers' sensibilities and cultural norms.
The production team took the concept of "world" in the title quite seriously, capturing footage from various international locations. The first segment is set in the directors' native Italy, depicting the citizens of Castallanetta honoring their beloved son Rudolph Valentino, a silent-era Hollywood star. The film ends in New Guinea, where the audience is introduced to a cargo cult developed by the native population near the Port Moresby airport. While some scenes depict real people and events, others are obviously staged, such as the one featuring Italian film star Rosanno Brazzi being mobbed by a small army of female fans in New York City.
One of the most compelling vignettes features French artist Yves Klein, one of the pioneers of performance art, who uses nude or scantily clad women as "human brushes" to create his paintings. This scene not only highlights Klein's innovative approach to performance art but also gains historical significance as one of his last appearances on film; he tragically passed away from a heart attack shortly after viewing this very footage at the Cannes Film Festival.
Despite some vignettes offering intriguing insights into different cultures, others appear redundant or overly contrived for exploitative purposes. For instance, a segment set on the French Riviera showcases bikini-clad women flaunting themselves before an anchored US Navy battleship—an image that feels more like a calculated spectacle than an authentic representation of cultural exchange. Additionally, certain scenes drag on excessively without contributing meaningfully to the overall narrative; one such example is a prolonged segment featuring intoxicated individuals on the streets of Hamburg.
What elevates Mondo Cane, at least to some extent, is its exceptional soundtrack composed by Riz Ortolani. The film's main theme, titled "More," garnered significant acclaim and was even adapted into an Oscar-nominated song. Its widespread popularity led to numerous covers by renowned artists such as Frank Sinatra and Andy Williams, cementing its status as one of the more recognisable pop music standards of the 1960s.
For audiences in the 1960s, Mondo Cane represented an exhilarating exploration of new and exotic content—particularly for those who were unable to access similar material on television due to prevailing censorship norms regarding nudity and violence. The film's commercial success paved the way for a sequel, Mondo Cane 2 (1963), as well as a plethora of similar films produced both in Italy and internationally over subsequent decades. However, this trend waned with the advent of home video and cable television, which made such exploitative content more readily available.
Despite its significant impact on cinema and culture at large, Mondo Cane ultimately suffers from its manipulative and exploitative nature. While it may not provide profound insights into global cultures as intended by its creators, it serves as an intriguing curiosity—a window into how certain genres emerged and evolved within the cinematic landscape.
RATING: 5/10 (++)
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