Possibly less spectacularly than its predecessor La Discesa di Aclà a Floristella, the second film by Aurelio Grimaldi isalso a contrary and unusual film. La Ribelle looks superficially like a contemporary variant on Neo-realism, but subtle overstate¡ment serves to ridicule this genre.The story – based on a book by Grimaldi himself – is set on Sicily. Sixteen-year-old Enza (Penelope Cruz) is caught stealing with her elder sister Rosaria. The judge sends them to a convent so they can finish their schooling far from evil influences. Grimaldi’s contrariness is clearly demonstrated in the character of the nun Valida (surprisingly performed by Laura Betti) who makes Enza worldly-wiser and more freedom-loving rather than putting her on the straight and narrow. In the free weekends Enza puts Valida’s lessons in life into practice and has sexual encounters with quite a few boys. Eventually she escapes from the institution, although the end of the film takes an ironic twist.Grimaldi plays a skilful game with the ‘genre’ of the reform-school or borstal film. He is too aware of the clichés to use them without reservation. Just as in his first film, Grimaldi’s use of music (an original score by Carlo Crivelli) is striking; he is not afraid of baroque, opera-like effects.
