Dov'è la libertà...?

"Neorealist" comedy from Rossellini with the unimitable Toto as a barber who has a hard time adjusting back to society after serving 22 years in prison for a crime of passion.

What's great about this film is the strong theme behind the story. When you're locked away for a long time the real world becomes a dreamlike vision of a paradise. Paradoxically, the world can be the least tolerant place to those just released from prison.

Toto's comedy works wonderfully to create a man that experiences this disillusionment even up to the point where the very reasons he had for the crime of passion 22 years ago are questioned.

It's not a masterpiece: some sequences are included for no apparent reason and add nothing to the film, but a good idea, great casting (especially minor parts), good use of dramatic or realistic elements to make the comedy parts seem less "sweet" and, of course, the great Toto make watching this one worth your while.

Written and directed by Italian film-maker, Roberto Rossellini, 1954's Where Is Freedom? (aka. Dov'e La Liberta?) quite clearly proved to me that, when it came to comedy, this dude was a downright clueless buffoon.

Where Is Freedom? was such a limp-wristed, humourless production, all round, that it didn't have the ability to encourage even one single laugh, or snicker, or giggle from this viewer who's always game for a chuckle, or two, to brighten up his day.

One of this film's major deficits was the miscasting of actor 'Toto' as Salvatore Lojacono, the story's main character. To say that 'Toto' was really terrible in his part would truly be an understatement.

The best way to describe 'Toto' would be to say that he was, in all appearances, a bargain-basement Buster Keaton. But, unlike, Keaton, 'Toto' had absolutely no charm or comic-timing, whatsoever.

In 'Where Is Freedom?', Salvatore is a repeated offender who has been in prison for 22 years. Due to such good behaviour, he is released on parole 3 years early.

Salvatore immediately heads to Rome and, before long, finds his experiences (all unpleasant) in the "free world" cause him to crave his life of relative leisure and security back in prison.

And so, Salvatore makes deliberate efforts to land himself back in jail, asap, which he views as his real home.

If you ask me, I think that this picture sent out a really screwy message in regards to the overall attraction of prison life.

Where Is Freedom? also lost itself some significant points for its blatant product placement of the Coca Cola logo?

One would honestly think that director Roberto Rossellini would have chosen to plug an Italian product in his movie, rather than cater to the Americans.

This film stars Totò as Salvatore--a guy who's been in prison for 22 years. Despite this, he's pretty happy in prison--he has friends, a job and he has food and a bed. When he is paroled, he is initially happy and looks forward to life on the outside. However, when he sees how hard life is, how despicable some of his 'friends' are outside and how difficult it is to find work, he longs for prison once again. So, he decides to dig up his old prison escape plan and just do it in reverse! Most of the story is told through flashbacks, as evidently the prison folks found out (not surprisingly) and he's brought before judges to explain himself.

While I would never call this film hilarious, it is mildly funny and quite agreeable. However, understand that although it IS a film directed by Roberto Rossellini, it's really not a Neo-realist film (mostly since it stars a big-name actor), though it has some qualities reminiscent of his older Neo-realist films. Well worth seeing.

Toto is always great. Here...he turns out to be the only redemptive feature of a very awkward script. The topic is good (the chronic evils of life and people generally- it might be Italy in 1954, or anywhere anytime.). But the story is poorly written (or edited), the depictions are heavy handed, and the subject matter is so dark that all comic touches in the script feel forced or grossly out of touch with the ambiance. I have seen many Italian movies from the 50s -60s masterfully juggling tragedy and comedy in brilliant plots (check out the films of Monicelli, Scola, Risi,Germi, Zampa and even Fellini), but I am afraid this Rossellini production fails absolutely at that delicate enterprise.