Marcello Fonte did not receive an Oscar nomination, despite winning Cannes, for portraying Marcello in Dogman.
Dogman is a decent enough film about a full time dog groomer who is dragged down by being a part time criminal in association with a bully former boxer. This is an instance of a film where while the film is not at all bad, the potential of the story does seem to suggest a far greater film could have been from the idea than what we see here.
The central conceit after all is a pretty fascinating one. In that the film essentially focuses on that weird guy usually in the corner of things of a crime film. The guy with some side business who dabbles in the criminal enterprise and is on the extreme fringe of the underworld typically as a nameless lackey. The man though does have a name here, the terribly creatively named, Marcello who we first meet in better conditions as he runs the local dog groomers, fittingly named Dogman. Fonte exudes an unabashed joy in these scenes of dog grooming as he portrays a man wholly in his element. There is nothing but affection for every moment he interacts with the dogs. Fonte delivers just this absolute unconditional love the man has towards dogs, and in turn how much he likes performing his job. Although we will find he has much outside of this life, in these moments Fonte brings an unquestioned contentment of his existence, that he theoretically should be fine with. We also have a few scenes where we see Marcello interact with his daughter. Again Fonte portrays a man who has nothing to give other than life towards his daughter. Fonte brings such a bright smile, and such welcoming physical presence of someone who really just wants to be a great dad. Again in these moments there is this joy of a man really being what should be his life. There is nothing but a simple pleasantness in these moments that Fonte portrays as exactly where Marcello belongs.
Those scenes of pleasantries though are the in-between as the outside world frequently comes in, and not just to have their dog serviced by his gentle hand. This force is essentially personified by Simone, a small time thug, who demands frequently the coke Marcello trades in. In these scenes we see a different side of his existence from the likable enough average man seemingly living a simple life. In this idea though lies the atypical approach of this film. In that typically speaking such a character would be entirely the victim. It would be easy enough even to assume that here as we see the scenes of Simone brow beating Marcello as his "friend". Fonte's reactions in these moments are particularly effective in assuming this submissive pose, not unlike a dog, with his head turned downward, and his wide eyes filled with sadness. He delivers any attempt to not do as the large man command, with the most timid fashion with such little confidence. Fonte expresses though how this bullying does not only push Marcello down, but also creates his one sense of unease within the life. The unease though being directly connected to the treatment of him, which sometimes is even in front of his daughter. Fonte shows a man essentially stuck under the man's thumb in these scenes without any real fortitude to do anything about it.
Again though the actual sympathy for Marcello can be limited by the fact that the character is wholly culpable in the criminal acts. This is further supported by Fonte's performance that portrays no hesitations whatsoever when engages in much of the amoral behavior, when he is just part of the group. Fonte doesn't hesitate in showing frankly a joy, a far less humble or endearing joy than when treating dogs, when taking part in the spoils of such a life. The only scene of any hesitation is after he and the other criminals rob a house, he has to return when one of them puts a dog in a freezer to keep it quiet. Marcello goes back to the place to rescue the dog and even nurse it back to health before leaving. It is a sweet scene where Fonte does bring an that same affection towards the dog, even in this more problematic situation. Immediately before treating the dog though is the only time we see the real regret in the actions themselves, rather the situation, but again it relates to how it effects something he loves again rather than any personal regarding the morality of the action. This might sound like some criticism on my part towards Fonte, and while showing more regrets might have made a more likable protagonists, this is actually the right approach for the character. The reason being because this film isn't about the downfall of a good man, it is rather the lashing out of a deeply flawed one.
Marcello finds himself the one facing criminal charges and does not give up Simone for a robbery. He accepts his prison sentence then the film commits a time jump. We actually don't get to see what happens to Marcello though, but we find a rather different man on the outside. When he is attempting to interact with his old friends, and his daughter Fonte portrays the attempt of the man to still bring that same affection personality. Fonte though changes this just a touch to illustrate a little more strain of the act suggesting the appropriate loss of spirit that defined the man outside of the criminal world. Where there is a greater change is in his interactions where Marcello demands a payment from Simone, who in turn continues to try to browbeat the "dogman". Fonte though now brings a certain confidence, which is rather brilliantly performed as again in the criminal side of things, he does not portray this is as a positive change. He rather reveals again that more grotesque side of the man who took pleasure in the criminal world, as he depicts this confidence as a striking, and rather off-putting portrayal of a sinister assurance of self. As he demands money from Simone, there is now a control in Marcello, a control defined by a malicious hate by Fonte's performance though rather than a growing internalized sense of self-worth. Fonte's work is unnerving as he reveals this near psychopathy as Marcello gets his revenge by capturing Simone in his shop, then attempting to torture him.
Again the vindictiveness that Fonte brings reflects the pent up hatred of Marcello for the man, but it is also something more. There is a venom and even a glee in the act suggesting that Marcello has gone beyond the pale. This is only shortly before he ends up killing Simone (I'd write spoiler but this is given away by the film's poster rather oddly), in technically an act of self-defense, however in Fonte's eyes there is a clear sense of satisfaction. The ending of the film, which is also the strongest sequence in the film, involves Marcello trying to dispose of the body. It is an incredible scene for Fonte's work as in the moment of this physical struggle he also exposes the mental decay of the man, as in his expression we see a man mentally breaking even as he relieves himself of his greatest tormentor. There's a moment, while disposing of the body, Marcello sees his old friends and begins trying to call them to him. This is obviously an insane act given the situation, however Fonte makes this moment not only convincing for the character but rather heartbreaking. This is as he portrays as this confused outburst of need of something, anything, as he tries to find any sense of the moment. When they do not come he is instead just left with disposing the body, and Fonte depicts a moment of clarity. This has such an impact as in this scene Fonte shows the merge between the killer and that old off-beat, though lovable enough dog groomer as somber understanding of his action sweeps over his face. We finally see that humble dogman see what he's become, and it is harrowing. This is a memorable turn by Marcello Fonte, as he delivers such an off-beat yet magnetic portrayal of a man who slowly falls victim to the negative influences around him and in his own mind.
