“A quaint delight that balances different tones in a masterful and often quite surprising way.”

In an Italian household it would not be uncommon to hear one specific word, usually as an enthusiastic exclamation: “scherzetto”, which translates as “little joke” or “trick”, and is usually proclaimed after someone has decided to pull a harmless prank, with the expectation (and often hope) that it would be promptly reciprocated. It seems appropriate that Mario Martone would use this evocative word as the title for his most recent film, since it captures the mischief and youthful charm that underpins every moment of the story. At the start of Scherzetto we are introduced to Daniele, a well-respected illustrator who is asked by his daughter to travel to her apartment in Naples (which also happens to be his childhood home) to look after his grandson Mario for a few days while she and her husband travel to a conference. Over the next three days, Daniele is forced to embrace his role as a grandfather more than ever before, which poses a slight challenge considering Mario is adorable but tends to stir trouble at the most inopportune moments. Initially this causes Daniele to question whether it was worth the time and effort, but gradually he begins to realise that there is something much stronger that binds them together. A wonderfully endearing film that goes in a few unexpected directions, but nevertheless finds its way home in the end, Scherzetto is a quaint delight that balances different tones in a masterful and often quite surprising way.

Over a decades-long career that has seen him become one of Italy’s most reliable socially oriented filmmakers, Martone has demonstrated a keen interest in exploring the human condition, which manifests in simple stories based around familiar subjects that should be recognisable to most viewers. Scherzetto starts with the effortless premise of a grandfather, who has previously made only occasional appearances in his grandson’s life, now spending a few days getting to know the child, who in turn makes sure to put his beloved nonno through an emotional and psychological wringer. It sounds straightforward, until it starts to take a slightly more serious turn once it becomes clear that the film is as much about the budding relationship between the two main characters as it is a deeply moving story of family, past and present. Daniele begins to see ghosts of the past manifesting in this apartment, which used to be his home, each one an uncomfortable reminder of things he thought he had left behind. This causes him to lose focus on what truly matters, such as caring for his grandson or completing an illustration assignment, both of which call his skills into question. We may not initially expect such a vigorous and complex depiction of a character handling the unbearable weight of his regrets, avoiding the past for fear of reopening old wounds, but it all forms the basis for a captivating character study.

As expected, Scherzetto is a film primarily built around the relationship between the two main characters, and Martone is committed to bringing out the best in the two actors who take on these fascinating and challenging roles. The director reunites with Toni Servillo, with whom he collaborated on The King of Laughter, where they evidently formed a strong artistic rapport. At first, the character of Daniele seems like a part any older actor could’ve played, since it mostly requires someone who can tap into the inherent grouchiness of the role before gradually opening up as the story progresses. However, Servillo works to find the intricate nuances of the character, each moment infused with a quiet complexity that far exceeds our initial expectations. He’s truly one of the most magnetic screen presences working today, and his ability to play into the character’s initially thorny personality before revealing a more tender core makes this another tremendous performance from a genuinely gifted actor. On the other side, we have one of the year’s most delightful discoveries in Lorenzo Perrotta, who is surprisingly adept at playing many different emotional levels, despite his very young age. All fear that the film may rely on the precocious traits usually found when young actors are given sizable roles is immediately dismissed, and replaced with genuine surprise at the depths to which this character is taken. The leads work exceptionally well together, playing off each other brilliantly and managing to come across as entirely convincing as a grandfather and grandson getting to know one another, finding common ground and realising that they aren’t nearly as different as they thought.

There are a few moments towards the beginning of Scherzetto where it seems like the film is going to be yet another well-meaning but predictable story of two very different characters existing in opposition to one another before finding common ground. However, it doesn’t take long for it to become much deeper than just a conventional story built around the hackneyed odd-couple scenario, as Martone is clearly aware of the importance of tempering emotions and avoiding too many cliches or an over-reliance on the usual tropes associated with these stories. The film walks a narrow tonal tightrope between genres, the story containing elements of gentle humour that merge masterfully with subtle melodrama, the two existing in tandem and creating much of what makes this film so captivating. The many scenes of irreverence are undercut with occasional moments of soul-searing beauty, where we are given brief glimpses into the minds of characters who are far more interesting than we anticipated. This is especially true in the final act, where the film finds some truly unexpected sources of tension between these two characters in an anxiety-inducing climax. The film manages to be sentimental without becoming saccharine, with a story emotionally rich enough to sustain the weighty themes that act as a counterbalance to its playful nature. Martone manages to find joy in the simplest of moments, creating the right balance between whimsy and introspection as he sets out to explore this charming dynamic, combining a straightforward story with some elegant use of allegory and a lot of humour in an emotionally resonant piece of filmmaking.

As far as intergenerational stories go, Scherzetto is mostly consistent with what we would expect, a tender and funny tale about two people learning to live together after a period where they seem divided by their differences and weighed down by the inner monologue of self-doubt and insecurity that gradually emerges. However, as the story progresses, we witness a growing sense of companionship between these characters, opening the door for some riveting discussion around the unbreakable bonds between family members accompanying each other through a confusing world, teaching important lessons (which go in both directions) and underlining the importance of remaining young at heart. We are in exceptionally good hands with Martone, who enlists another seasoned veteran in Servillo and makes a fantastic discovery in Perrotta, the trio working closely together to bring this poignant and emotionally rich chamber drama to the screen. The film’s ability to be charming but never twee is admirable, especially since it exists in the same genre as many similar stories that may be entertaining but lack the gravitas needed to sell the meaningful moments, something that this film easily achieves by balancing humour and pathos, both vital to this compelling voyage into the relationship between two characters who we want to watch interact for as long as possible. Scherzetto is an incredibly compassionate work, a film that looks at humanity through a conventional lens, yet still finds new ways to discuss familiar themes. It may play a few very traditional notes, but the eventual result is something resonant and undeniably touching.