Narrator and Italian journalist, born in Parma in 1908 and died in Cervia (Ravenna) in 1968. Author of an enjoyable and successful narrative production characterized, mainly, by its humorous approach, has gone to the history of the Italian lyrics of the twentieth century thanks to its wide range of novels devoted to a character that the film industry has become universal: the priest don Camilo.
From his youth years, Giovanni Guareschi combined his enthusiasm for the political life of his nation with his charged interest in literature. This combination of hobbies was reflected not only in his later works of fiction, but also an interesting career as a columnist that led him, among other jobs, to lead the prestigious weekly magazine Candido, one of the most widespread periodicals in postwar Italy for two years (1945-1947). Both in his role as journalist and as a novelist, Parmesan writer distinguished by the introduction in their texts of high doses of humor that sometimes supplied by way of satire and others through irony, contributed to lower gravity feature of Italian politics of the time, though not why they dwindled the remarkable ideological dimension that encouraged all of his writings.
The best success of this via humorous undertaken by Giovanni Guareschi was the creation of two opposing characters who, in their respective paths archetypal, embody the irreconcilable positions that, in those years, separated the avowed Communists of the declared anti-Communist. If, however, and despite the rabid anger that seems to exist between these two paradigmatic characters (the priest don Camilo and the Communist Peppone), in the background behind all the narrations of Guareschi an interior of your heroes nobility that hidden relationships of affection between the two. Is true that to fuer faithful and consistent with their respective ideological positions, don Camilo and Peppone are mutually declared a war without quarter; but it is not less that both respect and admire the tenacity with which his rival defends and profess their ideas, and they both need - as so many other competing claims of universal literature figures - the existence of his opponent to give purpose to their lives. Greatness, therefore these two humorous creations of Giovanni Guareschi - and the reason for its universal success - lies in its ability to play the political situation of the time, with a world divided into two irreconcilable blocs but, at the same time, essential to justify, every one of them, the existence of the other.
Among the most famous novels of the cycle dedicated to the bellicose anti-Communist priest, recalled the titled Il piccolo mondo di don Camilo (the little world of don Camilo, 1948), Don Camilo e il suo gregge (Don Camilo and his parish, 1953) and Il compagno don Camilo (comrade don Camilo). The film versions that have spread all over the world these works of Giovanni Guareschi told with directors as prestigious as the French Julien Duvivier and Italian Luigi Comencini, and actors as famous as actors Gino Cervi (in the role of Mayor Peppone) and Fernandel (who gave life to cure don Camilo).
Prior to printing the successful saga of Peppone and don Camilo, Parma writer had already published other stories of remarkable interest, which had left patent that peculiar humorous prose that would then succeed in the account of the quarrels between Communists and anti-Communists. These initial works of Giovanni Guareschi, include the novels entitled Il destination if chiama Clotilde (the target is called Clotilde, 1942) and Il marito in collegio (school husband, 1944).