In the late 19th and early 20th century, Eduardo Scarpetta’s comic plays were box office hits in Italy. In this biographical drama, director Mario Martone brilliantly brings Eduardo Scarpetta, (Toni Servillo) to life. Toni Servillo’s acting is superb as he plays the hilarious comic on stage, creative playwright offstage, and lively director and patriarch of his theater company. The period costumes, set design, make-up, and Neapolitan music all make this film fascinating to watch. As a bonus, the great-grandson of Eduardo Scarpetta plays the young adult son Vincenzo in this entertaining international film.
Beginning with the first scene in Scarpetta’s play Poverty and Nobility, talented comedic actors—largely from Scarpetta’s family—enthrall the audience. When Eduardo Scarpetta steps on stage as the winning character “Felice Sciosciammocca." The audience erupts with laughter and clapping. Backstage, members of Scarpetta’s family and other individuals are hard at work with theater tasks. Scarpetta and his wife Rosa have three children: Domenico, Vincenzo (Eduardo Scarpetta), and Maria. Scarpetta’s oldest son Domenico is counting the ticket sales and is involved with finance for the theater company.
Besides his own family, Scarpetta has a large extended (illegitimate) family which leads to both comedy and consternation. Scarpetta’s wife Rosa (Maria Nazionale) allows her niece Luisa (Cristiana Dell’Anna) to live with the family. Luisa has three children by Scarpetta: Eduardo, Titina, and Peppino. During the film, Luisa becomes pregnant with another child from Scarpetta. Rosa’s sister and child also live with the family downstairs.
Vincenzo desires to try new things such as filmmaking, but his father protests. By the end of the film though, Scarpetta is quietly acknowledging the world is changing. Young Eduardo and Titina love acting and appear in many of Scarpetta’s plays. In the credits, viewers learn that Scarpetta never acknowledges his illegitimate children, and they are known as his nieces and nephews throughout the film.
In a final piece of comedy, Scarpetta watches the play The Daughter of Iorio by the well-known Italian poet Gabriele D’Annunzio. While watching the play, Scarpetta can’t resist visualizing the tragedy as a comedy in his mind. Following the performance, Scarpetta seeks D’Annunzio to ask permission to create a parody of his play that Scarpetta plans to call The Son of Iorio. While D’Annunzio appears to find the idea amusing, he does not give Scarpetta written permission—only a verbal nod.
Later, Scarpetta finds himself in court for plagiarism. Scarpetta consults an attorney, and, with this legal guidance, Scarpetta finds a genius and comedic way to handle his case. Despite dramatic and sometimes sad moments in the film, the overwhelming story of Scarpetta’s comedic talent makes this a drama that ends with a smile. Highly recommended.
What kind of film collection would this title be suitable for?
The King of Laughter is suitable for biographies (of artists such as playwrights and actors), comedies, or international films.
What public library shelves would this title be on?
The King of Laughter is suitable for sections in public libraries for international feature films.