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This 1974 film by Ettore Scola is not what you would put in the same row with the better works of the great Italian film makers - it simply doesn't raise to that level.What it does, is far exceed the typical level of mediocrity one finds all too often today, and... it makes you think.
The film has two levels. The story level is somewhat superficial and mostly only scratches the surface of endless subject of human relationships, except for a few interesting observations... of which the relationship of Gianni to his wife is perhaps the most poignant and worthy of an attention.
That superficial level is there, however, only to wet our appetite, as beneath it lies the whole world of human emotions, feelings and suffering, that, while presented in a very muffled and quiet and almost indifferent way, suddenly errupts through on several occasions, like Mt St. Helen on a bad day.
So in essence one has to look beneath the somewhat cold, reserved and detached narration into the souls of the characters, and sure enough one finds enough there to fill his thoughts for many days that follow.
The director invites the viewer into the game, by throwing in the outline of the picture and giving the participants paints and brushes, then stepping back and letting the fun begin.
In some way you will be able to build some of the characters the way you want, as there is some freedom in their interpretation, and they are hardly black and white. And that makes the film great fun - to discuss the possible motivations and emotions of those involved in that long relationship.
The film has several great actors, and they all do wonderful job, but I feel strongly the special mention should go to Giovanna Ralli who plays Elide, the weak-minded wife of Vittorio Gassman's character. She plays with soft touch and plenty of half-tones, and produces a touching performance in that support role.
All told, as interesting film caught between the wave of the Neo Realism and modern times, with enough fine acting and interesting character development to justify your viewing. The term "bittersweet" is much overused, and I wish it wasn't, as here would be a good case to apply it.
Follow Ups:
I would also point out the magic moment in it. Particulary the very poetic moment when they copy the theater scene of " freezing " and let thoughts become reality.
And the friendship within the three men who never can be match by any woman in this kind of configuration, but because of them ( women ) we will become traitors and cowards.
How true.Like you said it is also tainted by the " Seventy " feeling of film making as for the unbearable zooming and the typical music...And more.
The freeze frames with spotlight were indeed very delicately incorporated in the film - I was sitting there hoping Scola would not overdo it, and he didn't, with the one where Gianni meets Luciana being perhaps the most poignant and well done.The director always has to be careful with moments like that one, and here Scola showed his sense of good taste.
The scene at the junk yard was also done very well in my view, and that whole "If you were not important while alive, why do you expect to be when you are dead..." line was extremely interesting and well done - shedding suddenly more black light at the character.
We saw this film when it first came out, and this time brought back many memories, and if it dated at all it was just a very small amount, certainly not enough to push it into oblivion.
Perhaps re-viewing the La Famiglia on the coattails of this one would seem appropriate. With so much acting talent that one is also one of my all-time favorite "Italian flavor" films.
nt
Have either of you heard any buzz on Ray, the Ray Charles bio-pic? How about Be Cool, the sequel to Get Shorty with John Travolta reprising his Chili Palmer role? Or Shakespeare's The Merchant of Venice starring Al Pacino as Shylock?Lots of interesting film stuff coming out without all the foo-foo grey poupon french dressing.
BTW, this one should really kick some butt (coming next spring to a theater near you)...
We know of your love of critising films that are not still out....
n
( huh? )
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