Reality
July 2013
What strikes the viewer of Reality early on, at least this one, is how much its star Aniello Arena, brings to mind a better-known actor.
There’s something in his mannerisms and on-screen presence as the gregarious fishmonger Luciano, that recalls a younger De Niro. What struck next were the similarities between the Italian production and Cannes Grand Prix winner and one of De Niro’s lesser-known films King Of Comedy. In that film (one of many collaborations with Martin Scorsese), he plays Rupert Pupkin – an aspiring comic obsessed with finding fame and whose desperation leads to a delusional blurring of fantasy and reality. Which leads us to… Reality, in which Luciano, after much prodding by his family, attends a shopping mall audition for the Italian version of Big Brother and then slowly begins to lose his grip on that self same concept the show purports to capture.
It seems the Italians generally go crazy for the type of minor celebrity that shows like BB throw up. In Reality it is former contestant, Enzo (Raffaele Farrente), who arrives at reception centres and nightclubs via helicopter to make fleeting appearances and exclaim the earnest catchphrase “never give up” to the screaming masses. After seemingly making a favourable impression at his first audition, Luciano increasingly believes his selection for ‘the house’ is imminent. It appears true and as such, Luciano is treated like a star in his local neighbourhood. Suddenly newcomers to his fish stall are suspected to be BB spies sent to secretly assess his eligibility for the show. These scenes leave doubt in the audience’s mind and the first cracks in Luciano’s mental state begin to appear. His paranoia ironically compels him to act as though he’s constantly being watched… and furthermore, judged (“You talking to me?”).
As a treatise on celebrity culture, the Orwellian idea of surveillance and more obviously, religion, the film is somewhat lightweight. Luciano’s humble, hardworking co-worker Michele (Nando Paone) makes clear the spiritual connection with his continual Christian wisdom. It is all but lost on Luciano by now, who starts giving away his family’s furniture to the local homeless as a misguided display of virtuousness. By now it’s clear to all he’s lost all sense of reality and the final scene plays this out to the rightful conclusion.
Whilst there’s much to enjoy about director Matteo Garrone’s part-comedy, part-drama – especially Arena’s performance – it overstretches its ideas and running time. With a bit of much needed trimming Reality could’ve been a much better film.
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