1959,
Coccinelle,
Italian,
Italy,
Jacqueline Charlotte Dufresnoy,
Director: Alessandro Blasetti
Release Year: 1959
Original title: Europa di notte
Synopsis:
Europa di notte (1959), directed by Alessandro Blasetti, is a captivating, albeit unconventional documentary that takes viewers on a night-time journey through the dazzling and often illicit world of European cabaret. Through a series of vignettes set in famous nightlife spots in major European cities—London, Paris, Madrid, and Vienna—the film introduces a panorama of variety acts, including burlesque shows, dancing, magic tricks, and musical performances. It captures the spirit of post-war European entertainment, reflecting both the vibrancy and decadence of the cabaret scene that flourished during the 1950s.
Blasetti, known primarily for his work in Italian cinema, particularly within the neorealist and historical genres, approached Europa di notte with a distinctive style that blended documentary and spectacle. The film was something of an experimental work for him, designed to be an almost chaotic collage of performances and nightlife, presented as an "artistic documentary" where the line between reality and entertainment was often blurred. He described the film as a "spectacle-documentary," a fusion of reality and artistic performance that might one day disappear as the world of cabaret slowly faded into history. The documentary was a snapshot of an era, featuring some of the most famous entertainers of the time, and it would later be credited with inspiring the genre of "mondo movies," films that expose various aspects of society, often with a sensationalized and voyeuristic tone.
One of the most fascinating aspects of Europa di notte is its inclusion of some of Europe's most iconic cabaret performers, many of whom were avant-garde figures in their own right. Among the divas featured in the documentary were Coccinelle, Alba Arnova, The Princesse Badia, Dolly Bell, Raffaella Carrà, and Carmen Casarrubios. These performers represented a variety of acts, from burlesque and drag performances to exotic dancing, and they became symbols of their respective countries' cabaret scenes. Coccinelle, whose real name was Jacqueline Charlotte Dufresnoy, is perhaps the most iconic and historically significant of these performers. Born in 1931 in Paris, Coccinelle became one of the first widely publicized transgender women in Europe. She was famous not only for her extraordinary performances but also for her groundbreaking medical journey. In 1958, she underwent gender-affirming surgery in Casablanca, a procedure that was still rare at the time. Upon her return to France, she was heralded as a symbol of feminine beauty and was embraced by the media as a glamorous figure, despite the significant social and cultural challenges she faced as a transgender woman.
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Her appearance in Europa di notte was a pivotal moment in her career, cementing her place as a celebrated performer in the international cabaret world. Coccinelle’s act was often compared to those of classic sex symbols like Marilyn Monroe and Brigitte Bardot. She embodied a sophisticated, sensual image while challenging conventional ideas about gender and sexuality. Throughout the 1960s, she would become an even more significant figure in both the world of entertainment and transgender activism, advocating for the rights of transgender individuals and becoming a role model for many. Another notable figure in Europa di notte is Raffaella Carrà, one of Italy's most beloved pop stars and television personalities. By the time Blasetti made his film, Carrà was already well on her way to becoming an icon of Italian popular culture. Known for her energetic performances and catchy songs, Carrà's work transcended the cabaret scene and entered the realm of mainstream television and film. Her presence in Europa di notte speaks to the diversity of the performers who captured the spirit of post-war European nightlife, showcasing the blend of artistic skill and popular appeal that was characteristic of the cabaret genre.
The film’s episodic structure allows it to present a variety of acts that represent the different facets of European nightlife, and it provides a glimpse into the world of late-night entertainment at a time when cabarets were often considered centers of vice, but also of artistic innovation. As such, Europa di notte is not just a celebration of the performers themselves but of the cultural moment they represented. It’s a film about the art of performance, about the performers' ability to create something larger than life on stage, while also existing as a comment on the decadence and glamour of a rapidly changing Europe. Despite its commercial success—Europa di notte was a box office hit upon its release in Italy on February 26, 1959—the film never received a proper home video release, making it difficult for many to revisit. It was only occasionally broadcast on late-night television by local stations, where its allure continued to captivate audiences who were fascinated by the world it presented. The film is an important historical document not only for its performances but also for its portrayal of a time in European culture that was about to change dramatically in the years that followed.
Blasetti’s film is also notable for its artistic audacity. The very concept of blending documentary realism with the theatricality of the nightclub world was, for its time, a daring move. The film’s structure, with its fragmented episodes showcasing individual performances, can be seen as a precursor to the more structured and stylized mondo films that would emerge later in the 1960s. These films, often critiqued for their voyeuristic approach, would use a similar approach to depict everything from rituals and cultural practices to the most intimate moments of human existence.
The international acclaim of Europa di notte was indicative of the film's appeal beyond Italian borders. In addition to the performances of the cabaret stars, the film also captured the sense of post-war European optimism and hedonism. Cities like Paris, London, and Madrid were not only cultural capitals but also hubs of artistic experimentation in the realm of popular entertainment. The contrast between these cities' glittering nightlife and the underlying political and social tensions of the time is subtly evoked throughout Blasetti’s film.
Ultimately, Europa di notte is more than just a documentary about a bygone era of European nightlife; it is a meditation on spectacle, gender, and the performative nature of identity itself. The inclusion of performers like Coccinelle, who was pioneering in both her personal and professional life, elevates the film from a simple record of a vanished world to a powerful statement about the role of performance in shaping societal norms and pushing the boundaries of cultural acceptance. As such, Europa di notte remains a significant work, both as a historical artifact and as a piece of cinema that, through its portrayal of cabaret and performance, touches on themes that are still relevant today.
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