“The Shorts” by Aldo, Giovanni and Giacomo

"The Shorts" (original title: “I Corti”) is not a conventional narrative film but a live recording of the first and iconic theatrical show by the Italian comedy trio Aldo, Giovanni e Giacomo. Recorded in March 1996 at the Teatro Nuovo in Ferrara and directed by the renowned quick-change artist Arturo Brachetti, the production captures the raw energy and brilliant comedic timing that launched the trio into stardom. The show is a collection of sketches, or "shorts," that showcase their unique blend of surreal humor, physical comedy, and sharp observational wit.

The performance is structured as a series of unrelated vignettes, ranging in length from a few seconds to thirty minutes. These sketches cover a wide array of bizarre situations: three astronauts dealing with mundane problems during a spacewalk, a disastrous mountain climbing expedition, and the recurring meta-theatrical bit of the trio themselves sitting in the audience commenting on the show. Supported by the versatile actress Marina Massironi, Aldo, Giovanni, and Giacomo established their distinct comedic personas that would define their careers, creating a fast-paced, hilarious experience that was a cornerstone of 1990s Italian comedy.

The core message of "I Corti" is a celebration of the absurdity inherent in everyday life and human interaction. Director Arturo Brachetti and the trio aimed to elevate the art of the sketch, moving beyond simple gags to create self-contained comedic worlds. The show suggests that beneath the veneer of normality lies a wellspring of surrealism, which can be triggered by the slightest deviation from routine. It explores how simple miscommunications, personality clashes, and the anxieties of modern life can spiral into hilarious chaos. By blending slapstick, witty dialogue, and meta-commentary, the film conveys that laughter is the best response to the baffling and often illogical nature of human behavior. It's a statement on the power of physical and observational comedy to dissect and find joy in the universal quirks of being human.

While largely a straightforward comedy show, some critics and audiences have interpreted the recurring 'Spectators in the Stalls' sketch as a subtle critique of the passive nature of the audience and the intellectual pretension of critics. Giovanni's character, with his verbose and nonsensical explanations of the show's 'meaning', can be seen as a parody of art critics who over-analyze simple entertainment. Aldo's simple, bored reactions represent the 'everyman' spectator who just wants to be entertained, creating a dialogue about the different ways people consume art.

Furthermore, the finale with the character Tafazzi hitting himself has been interpreted beyond a simple gag. Some see it as a nihilistic statement on the human condition, a representation of self-destructive tendencies and existential struggle, presented in the most absurdly comedic form possible. It can be viewed as the 'comedic absolute zero,' where comedy is stripped of all narrative and context, leaving only pure, unexplained (and self-inflicted) action.

"I Corti" was a watershed moment in 1990s Italian entertainment. It marked the definitive consecration of Aldo, Giovanni e Giacomo, transitioning them from popular television personalities on the show 'Mai dire Gol' to national comedy icons. The show arrived at a time when stand-up monologists were dominating Italian comedy; the trio revitalized the art of the sketch, blending traditions of Italian 'avanspettacolo' (revue theatre) with modern, surreal humor.

The home video release of "I Corti" became a massive commercial success, making the performance accessible to millions and turning many of its sketches and catchphrases into cultural touchstones in Italy. Lines from sketches like 'The Mountain Trip' or 'The Spectators' became part of the everyday lexicon for a generation of Italians. The success of this raw, theatrical format proved their comedic prowess and gave them the creative capital to launch their film career. Their first movie, "Tre uomini e una gamba" (1997), directly incorporated and expanded upon sketches from "I Corti," becoming a box office smash and cementing their status as the most important comedic force in Italy of that era. The show established a comedic style—relatable characters thrust into absurd situations—that would define their work for decades to come.

The audience reception for "I Corti," both in theaters and for its home video release, was overwhelmingly positive, bordering on phenomenal in Italy. It was the show that defined the trio's popularity in the mid-90s. Audiences praised the originality, the high energy of the performances, and the perfect chemistry between the three comedians. The blend of high-concept surrealism, relatable situations, and pure slapstick appealed to a broad demographic. The 'Spectators in the Stalls' meta-sketches were particularly lauded for their cleverness. The show was considered fresh, intelligent, and, most importantly, consistently hilarious. There is virtually no record of significant criticism or controversy; it is widely regarded as a classic of modern Italian comedy and the trio's masterpiece in the theatrical medium.