How Does Camerini Create A Sense Of The Upper Class

In Il Signor Max, the upper class are portrayed by Camerini in a way that is unflattering and emphasizes class difference. The upper class are seen as frivolous people who live their lives looking for the next bit of entertainment. For example, when Paola and Max officially meet each other, it is at a dance where everyone is supposed to wear these silly hats. Camerini uses these hats to gently make fun of the aristocrats by their silly appearance and by their need to have these kind of party favours to make a dance (that the middle class, such as Gianni, would find very exciting) more entertaining. This class difference is further emphasized by the difference in settings. The scenes with the upper class are all shot in rooms with extravagant
Prico’s family encounters the upper class during their vacation in Alassio and we are introduced to Dada and her group of male friends who are very similar to Paola’s travelling crew in Il Signor Max. The upper class are only seen in the setting of the resort town and are therefore associated with the leisure and luxury of the resort. Furthermore, De Sica accentuates the lack of morality within the upper class through the character development of Dada who has only befriended Nina so that her friend Mimi can have a chance to seduce her. Of course the aristocrats know that Nina is married but the point that De Sica makes is that they do not care or respect the sanctity of marriage. During the scene at the restaurant in Alassio, De Sica uses dialogue in the same way as Camerini to alienate the audience and show the difference between common folk and the upper class. The entire restaurant is chatting with each other about the people they know which alienates the audience because their conversations are about people we do not
The deteriorating effects of fascism on the upper class, the familial unit, and gender roles have been discussed earlier in the paper. However, De Sica also makes a comment on the fascist ideals of collectivity by emphasizing the lack of unity within Prico’s community. For example, the neighbors, especially Mrs. Resta, are often seen gossiping about Andrea and Nina. Instead of pulling together to help this family in crisis, they seem to take some kind of pleasure in discussing the family’s issues. This is further emphasized by the set-up of scenes where the neighbors are on one side and the members of Prico’s family, such as when Prico is brought home to his mother after running away, that visually show the division within the community. Additionally, the gossiping neighbors function as a representative of the oppressive nature of fascism and how the pressure of fascist ideals are a destructive force. The discord in the community is also accentuated in the scene where the tenants of the apartment building break out into an argument over something as petty as how often people should use the elevator. De Sica uses the disharmony within the community to once again undermine fascist ideals and highlight the deterioration of fascist