ABSTRACT
Director and scriptwriter Scola is one of Italy’s most visually and intellectually exciting film-makers. A number of his films such as C’eravamo tanto amati (We All Loved Each Other So Much) (1974) and Una giornata particolare (A Special Day) (1977) have received international acclaim, while others like Trevico-Torino: Viaggio nel Fiat-Nam (Trevico-Turin: Voyage to Fiat-Nam) (1973) have generated aesthetic and political controversy. And yet, perhaps because his personal life has not lent itself to scandal and because his approach to filmmaking has been entirely competent and professional, he has not been the object of the frequently morbid media and the critical interest that has surrounded better known Italian filmmakers like Rossellini, Fellini, Pasolini or Bertolucci.
