Okay, let's dim the lights, maybe adjust the tracking just a bit, and settle in for a trip back – not quite the neon-soaked 80s this time, but to its immediate, earth-toned predecessor. We're digging out a tape that might have sat slightly awkwardly between the blockbusters at the rental store, promising something a bit different, perhaps a little more... European? I'm talking about the 1978 Italian anthology comedy Where Are You Going on Holiday? (or Dove vai in vacanza? if you want to impress your friends). This isn't your typical guns-blazing action flick, but stick with me, because tucked inside this three-part slice of late 70s life are some comedic gems and performances that absolutely deserve a rewind.
Anthology films were a different beast back then, weren’t they? Like getting three mini-movies for the price of one rental. This one gathers some absolute titans of Italian cinema, both in front of and behind the camera, to explore that universally sacred (and often disastrous) time: the summer vacation. It was a colossal hit in Italy, becoming the highest-grossing film of the 1978-79 season there, proof that holiday mishaps are a language everyone understands.
### Three Postcards from the Edge (of Relaxation)
The film serves up three distinct segments, each with its own flavour. First up is Mauro Bolognini's Sarò tutta per te ("I'll Be All Yours"). Bolognini, known for more dramatic and visually lush films like The Inheritance (1976), directs the legendary Ugo Tognazzi (you know him from La Cage aux Folles, 1978) and the effortlessly chic French actress Stephane Audran (Babette's Feast, 1987). Tognazzi plays a man whose meticulously planned romantic getaway with his lover (Audran) keeps getting interrupted by her clingy ex-husband. It’s a sophisticated bedroom farce setup, relying on Tognazzi’s expert timing and Audran’s cool elegance amidst the escalating chaos. It feels very... continental, a comedy of manners where the laughs simmer rather than explode. Apparently, Tognazzi was such a comedic force that scripts often just provided a premise, allowing him ample room to improvise, bringing his unique energy to the role.
Next, we jet off (or perhaps get stranded) with Luciano Salce's Sì, buana. Salce often worked with Italy's comedic giants, and here he directs Paolo Villaggio, the beloved creator and star of the hapless accountant Fantozzi character, a true Italian pop culture phenomenon. Villaggio plays Arturo, accompanying his boss's wife (played by Rossana Podestà, who had international exposure in films like Helen of Troy, 1956) on a safari trip that goes predictably sideways. This segment leans more into broader, almost surreal comedy, fitting Villaggio's established persona. The African setting provides a backdrop for misunderstandings and fish-out-of-water scenarios. While maybe not as sharp as the other segments for some viewers today, Villaggio's particular brand of physical comedy and resigned suffering was massively popular, and seeing him operate outside the Fantozzi role is interesting.
### The "Intelligent Holiday"
But let's be honest, the segment that truly cemented this film in memory, especially in Italy, is the third one: Le vacanze intelligenti ("The Intelligent Holidays"). Directed by and starring the absolute icon Alberto Sordi, arguably one of the most important figures in Italian comedy history alongside Vittorio Gassman and Marcello Mastroianni. Sordi, who also co-wrote this segment with his frequent collaborator Bernardino Zapponi (who often worked with Fellini!), crafts a hilariously pointed satire.
Sordi and the brilliant Anna Longhi play Remo and Augusta, a working-class Roman couple whose snobbish, intellectual children force them into a "cultured" vacation itinerary against their will. Forget beaches and trattorias; think stuffy museums, avant-garde art installations (including a memorable encounter with performance art), archaeological digs under the blazing sun, and dreadful encounters with macrobiotic cuisine. Sordi, a master of capturing everyday Italian life and frustrations, is magnificent as the perpetually bewildered and increasingly annoyed Remo. His reactions – the subtle eye-rolls, the muttered complaints, the sheer physical discomfort – are comedic gold. Longhi is equally fantastic as the long-suffering Augusta, just wanting a simple plate of pasta. This segment wasn't just funny; it tapped into a real cultural conversation about class, pretension, and what "leisure" really means. It's said that Sordi drew heavily on his own observations of tourists and changing vacation trends for this piece. Its sharp critique wrapped in laugh-out-loud scenarios made it instantly relatable and enduringly popular.
### A Time Capsule Vacation
Watching Where Are You Going on Holiday? today is like flipping through a slightly faded photo album from 1978. The fashion, the cars, the sheer vibe of late 70s Europe are perfectly preserved. It lacks the slickness of later comedies, but its charm lies in its grounded characters (even in the farcical moments) and the sheer talent on display. The film isn't about complex plotting; it's a showcase for its stars and a gentle ribbing of human foibles when faced with the pressure to "relax." The directors each bring their distinct styles, making the anthology format feel varied rather than disjointed. You might find one segment resonates more than others – Le vacanze intelligenti is often the standout – but the whole package offers a satisfying glimpse into the Commedia all'italiana tradition as it was evolving.
Rating: 7/10
Justification: While not every segment hits comedic highs with the same force, and the pacing might feel leisurely compared to modern comedies, the film is elevated by its incredible star power, particularly Sordi's unforgettable turn in the final segment. It’s a genuinely funny and insightful time capsule, offering three distinct comedic flavours. The high points are brilliant examples of Italian comedic craft, making it a worthwhile watch for fans of European cinema or anyone curious about holiday disasters before National Lampoon's Vacation hit the scene.
Final Thought: Forget the glossy brochure; this is the real holiday – sometimes awkward, often frustrating, but ultimately human and, thanks to Sordi and company, frequently hilarious. A quintessential slice of late 70s Italy, best enjoyed with maybe a simple pasta dish, far away from any performance art.