Gli uomini, che mascalzoni...(1932) Review: The Good, The Bad & How to Watch

Gli uomini, che mascalzoni...(1932) Review: The Good, The Bad & How to Watch 

Italian Film, Comedy
English title: What Scoundrels Men Are!

Venice International Film Festival, 1932- Official Selection
Italian Masterpiece

The 1932 masterpiece Gli uomini, che mascalzoni... (What Scoundrels Men Are!) represents a pivotal turning point in the history of Italian cinema. Directed by Mario Camerini, this charming romantic comedy did more than just entertain audiences during a period of significant social change; it effectively introduced a new kind of realism that would pave the way for the world-renowned Neorealist movement of the 1940s. At its heart, the film is a simple, breezy tale of courtship, but its technical execution and cultural impact were anything but ordinary. More on Wikipedia or Mubi

Milanese Romance: How 'Gli uomini, che mascalzoni...' Changed Italian Cinema 

The story centers on Bruno, a charming but somewhat reckless chauffeur played by a young Vittorio De Sica in his breakout role. Bruno falls for Mariuccia, a modest shopgirl portrayed by Lya Franca. To impress her, Bruno "borrows" a luxury car from his employer, leading to a series of misunderstandings, jealousies, and comedic mishaps. While the plot follows the classic "boy meets girl" trajectory, the film’s true brilliance lies in its setting. Camerini took the cameras out of the stifling, artificial film studios and onto the bustling streets of Milan.

y filming on location, Camerini captured the authentic rhythm of 1930s Italy. Audiences saw the iconic Milan Cathedral, the busy trade fairs, and the everyday lives of the working class. This was a radical departure from the "Telefoni Bianchi" (White Telephone) films of the era, which typically focused on the lavish lives of the upper nobility in staged environments. Instead, Gli uomini, che mascalzoni... offered a relatable, middle-class perspective, grounding the romance in a world that viewers recognized as their own.

The film also served as the launchpad for Vittorio De Sica’s legendary career. His natural charisma and effortless screen presence made him an instant star, long before he would go on to direct classics like Bicycle Thieves. The chemistry between the leads is bolstered by the film’s famous musical centerpiece, the song "Parlami d’amore Mariù." The melody became an anthem of the decade and remains one of the most recognizable pieces of Italian popular music, perfectly encapsulating the film's blend of sentimentality and wit.

Ultimately, Gli uomini, che mascalzoni... is remembered as a breath of fresh air in Italian film history. It balanced the lightheartedness of a romantic comedy with a pioneering documentary-like aesthetic. It proved that the lives of ordinary people, set against the backdrop of a real, breathing city, were just as worthy of the silver screen as the lives of kings and queens. 

The Strengths: Why It Remains a Classic

The most striking "good" aspect of the film is its visual authenticity. By choosing to film at the Milan International Fair and on busy city boulevards, Mario Camerini broke the "fourth wall" of the studio system. This gives the movie a vibrant, documentary-like energy that preserves a specific moment in Italian history. You can almost feel the kinetic energy of the 1930s urban landscape, which provides a refreshing contrast to the stagey dramas common at the time.

Another undeniable high point is the performance of Vittorio De Sica. His portrayal of Bruno is a masterclass in "likable roguishness." Even when the character is being dishonest or manipulative to win Mariuccia’s heart, De Sica’s natural warmth prevents the character from becoming truly dislikeable. Furthermore, the inclusion of the song "Parlami d’amore Mariù" provides the film with an emotional anchor; it is a rare instance where a film’s musical theme perfectly mirrors the narrative's sweetness and simplicity.

The Weaknesses: Where It Shows Its Age

On the "bad" side, or at least the more challenging side for contemporary audiences, is the simplistic and dated gender dynamics. The title itself, "What Scoundrels Men Are!", hints at a world where male deception is treated as a harmless, almost expected personality trait. Mariuccia, while charming, is written with very little agency; her role is primarily to react to Bruno’s antics, and her forgiveness of his lies comes perhaps too easily by modern storytelling standards.

Additionally, the pacing and plot depth may feel thin to those used to complex modern narratives. The story relies heavily on a single "big lie"—Bruno pretending to be wealthy—and stretches that tension across the runtime. For some, the transition between slapstick comedy and sentimental romance can feel slightly jarring. While the film was revolutionary for its time, its plot follows a predictable formula that lacks the psychological depth found in later Italian cinema.
Full Film (English subtitles)