Word: domenico
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...youth, an Italian boy entering a white-collar job, is no fragile Dedalus embarking upon a tragic bildungsroman; neither is he a dashing hero in a setting devoid of heroism. Domenico's passage into adulthood takes place without ceremony or bravado. He passes quietly, but not painlessly, self-consciously, but never cutely, into a world of hopeless vacuity. Throughout the movie Olmi shows him what he may become--a dulled commuter from lower middle-class suburbs, a paunchy clerk gazing through shop windows, an embittered office-worker yearning for a piddling promotion...
...Domenico observes his new world with passive half-comprehension. Olmi does not tell us that he might have been more; he has been lucky--we are constantly reminded--lucky to have passed his exams, lucky to have been hired, lucky to have been taken into the corporate "family." The job, with its occasional minor advances, shall be his all. We are permitted brief glances into the emptiness of the outside lives of his co-workers. Caught in a Kafkaesque bureaucracy, they exist without misery, without real joy, on a treadmill of uncompromising mediocrity. Yet this restrained portrait of an Italian...
...Company New Year's Eve party, a soggy little orgy of pretend-gaiety, Domenico seems at first gawky and estranged. But he is drawn in, fearful, perplexed, hungry for human contact; until at last he bounces with the rest in a giggly conga-line...
...struggle for power began in December 1962, when Marketeer Domenico Italiano, 65, known as Il Papa, died peacefully in bed. One strong contender for the job of Mr. Big was eliminated four months later when Vincenzo Angilletta was ambushed outside his home and blasted to death by both barrels of a shotgun. Last November, Domenico Demarie, 41, got the same treatment, but he survived as a sick and frightened man who swears he has no idea who attacked him or why. Fortnight ago, Vincent Muratore, 43, rose before dawn to go to his wholesale produce stall at the market...
...Alas, Domenico is too young, too innocent to see that if he does what they do he will one day be as they are. At the end, promoted to a clerkship, he sits at his new desk and looks calmly into the camera. He has achieved his ambition, he has won un posto sicuro. The audience senses that he will never leave it. On the sound track gradually rises the mechanical relentless rumbling of a mimeograph machine...