Although there are not many words to say about this very enjoyable Italian comedy filmed in 2003, it's worth saying them. Claudia Gerini (one of the most talented and astonishingly beautiful Italian actresses) and Pierfrancesco Favino give us an impressively natural and spontaneous performance, well supported by Sabrina Impacciatore and Pierre Cosso ("dressing" his flawless Italian with a nice French accent). The story is fresh and simple, and maybe it's just this simplicity that gives the movie its force and substance. Go and see this movie if you think that we're still up to date in considering love a matter of fun and not just grief.
Reviews
5 Reviews
Pinocchio
(2002)
Astounded by the magic...
14 October 2002
It's very hard to say something about the most waited Italian movie of all times (am I exaggerating?)... I don't want to spoil anything of the film, so I'll be very concise: Pinocchio is... Pinocchio. It's just like you expect it to be, it's just like the fable is. Pinocchio is in every costume, in every scene, in the eyes of the Blue Fairy and in the mouth of the whale: maybe a little too weak in the development of the plot, but awesome in the technical aspect and in the depiction of the characters. Let me say that Pinocchio is and will be ...pure magic.
Cold Heart
(2001)
Better than you might expect...
15 August 2001
I have to confess that when I started watching this movie, I didn't really expect much: both the script and the actors seemed not to be very inviting. In the end I had to change my mind: both Nastassja Kinski and Josh Holloway are pretty convincing, and the plot isn't so ordinary, despite the fact that the starting point is the usual sexual relationship with a psycho-depressed-hyper-aroused hunk. A nice thriller, with good music and interesting directing choices. There could be much worse films than this one.
Gialloparma
(1999)
Parma ham is far better...
30 October 1999
I have never really appreciated the famous Italian writer Alberto Bevilacqua, but I frankly recognize that he wrote some unforgettable books.
I had not the opportunity to read "GialloParma", so I decided to rent the movie and have an idea about it. In two words: a nightmare.
In my humble opinion, this is an authentic cinematographic failure, starting with the colourless acting and ending with the pompous score.
Everything in this movie is forced and unintentionally ridiculous, therefore the result is incredibly weak.
The screenplay, though written by the director (and famous writer) himself, is feeble, pretentious and never, never interesting. I really can't imagine how Bevilacqua could adapt his own novel this way.
The story: oh well, a plot DOES exist, but it's so patched-up and tortuous that it seems impossible to define it. Anyway, we can say that the picture depicts the (sexual, social and political) "crimes and misdemeanors" among the upper middle-class in Parma.
Finally, just an advice: it's ALWAYS better to read a book before watching its adaptation...
I had not the opportunity to read "GialloParma", so I decided to rent the movie and have an idea about it. In two words: a nightmare.
In my humble opinion, this is an authentic cinematographic failure, starting with the colourless acting and ending with the pompous score.
Everything in this movie is forced and unintentionally ridiculous, therefore the result is incredibly weak.
The screenplay, though written by the director (and famous writer) himself, is feeble, pretentious and never, never interesting. I really can't imagine how Bevilacqua could adapt his own novel this way.
The story: oh well, a plot DOES exist, but it's so patched-up and tortuous that it seems impossible to define it. Anyway, we can say that the picture depicts the (sexual, social and political) "crimes and misdemeanors" among the upper middle-class in Parma.
Finally, just an advice: it's ALWAYS better to read a book before watching its adaptation...
How do we really face madness?
29 July 1999
How do we really face madness? And what do we do when madness touches us? This is the main dilemma of Martine, the principal character of the movie. After a sentimental crisis and a nervous breakdown, she discovers a new life and spirit in an institute of mental illnesses... I really liked this movie, and I think that the reason is quite simple: the director, Laurence Ferreira Barbosa, fully succeeded in depicting folly without any sociological schematism and with uncommon freedom. But I can't forget to mention the astonishing performance by Valeria Bruni Tedeschi, whose destiny (I hope) is definitely bright. Finally, just an advice: go and see it if you like Cesaria Evora. This fantastic singer gives us two unforgettable moments of authentic joy with her brilliant voice.
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