JAP_EMAIL Reviews

The Assassination of Matteotti (1973)

Bravo Signor Mario Adorf !

[2/10 · 16 January 2019]

This film may or may not like for a variety of different reasons, but as far as I'm concerned, it's definitely worth seeing even just for the superb interpretation of the "Duce" by Mario Adorf. Personally, I do not like the film inasmuch it's clearly hagiographic, for the benefit of the "winners", as always sadly happens; the History doesn't earn any good: all the ills are attributed to the "bad and ugly" ones and all the merits are attributed to the "handsome (so to speak) and good" ones . Before viewing this film, I considered Mario Adorf a good character-actor, able to get by in the most disparate roles, but still as a side actor. Considering this role - not at all simple for a non-Italian, and what's more of Teutonic origin - I have gladly changed my mind and reconsidered his other interpretations with different eyes. The few scenes in which he appears - albeit dubbed by the equally splendid Ivo Garrani, that gives him the right dialectal accent - are beautiful cameos, and if I see this film willingly when it goes on TV, it is just to enjoy his interpretation. A performance that is certainly the result of a profound study of historical footage. He's never above the lines , not forced nor trivial. If I can push myself to the paradox, he is even more credible than Mussolini himself. It would have deserved - on that occasion in my humble opinion - the Oscar for best supporting actor. Bravo Signor Mario Adorf !

Signori si nasce (1960)

Signori si nasce (Nobleness is by birth): This is indisputably a masterpiece, from Italian comedy prospect.

[10/10 · 24 December 2017]

This is indisputably a masterpiece, from Italian comedy prospect. Not easy to grasp (even with subtitles) for non Italian-spoken persons. The main theme recals that of the famous Poem by Aesop, The Ant and The Cricket: Two brothers live opposite lives, one being an extreme economizer and sober family man (Peppino/Pio), while the other just a big spender and pleasure-seeker (Totò/Zazà). The latter also boasts about a supposed nobleness whenever creditors complain about his debts and often he gets away with it this way. With his greed for money and sex, Zazà gets accidentally involved in the production of a stage revue; not having money of his own he tries to involve his rich brother into the business, just to please a young dancing-girl he's fond of. The plot gets all the more entangled as new characters get into the picture all along, because of various misunderstandings. Every single line of this movie gives Totò the chance of cracking jockes, one after the other ... I've seen it quite a few times, and it always makes me cry with laughter (regardless of age and fashions). Once again, to his side we find one of the best of Totò's "stooges": the great Peppino DeFilippo (brother of the "monster" Eduardo). Being a comedy the muddle will eventually untangle, and all the characters will end up happy ever after.

Un turco napoletano (1953)

the perfect example.

[9/10 · 8 October 2017]

This film is a perfect example of the great comedy art of Totò. As always the story offers opportunities for the brilliant improvisations of the great comedian. As always, it is very difficult for those who don't speak the language to seize all the nuances and subtleties in the dialogues. The story, however, is quite original in itself: it is all about a couple of unwary thieves who go on from one theft to another, until one of them finds -within the swag- a letter of appointment -from a local politician to one of his countryman- that recommends the Turk himself (the victim of their theft) for a job at a wealthy trader's shop. The story unfolds between misunderstandings of all kinds and is based on the unawareness of Toto's character that the letter assignment tacitly assumes that the bearer is supposed to be an eunuch ... Dialogues at this point become kind of pyrotechnic, and the comedian is triggered in a series of puns and jokes that can bring down the ceiling. In the end, the deceit will come to light, but the devilish petty thief will find once again the way of breaking the rules by turning the situation to his advantage and of solving all the intrigues that threatened the happiness of the other characters. Among the pretty actresses in this movie we can admire the late wife of Totò's, Franca Faldini; there're also the right-hand men Carlo Campanini, the unfailing Mario Castellani, and -as a real treat- a very young Aldo Giuffrè, who will be -later on- impersonating the famous Alcoholic Union Captain of the unforgettable "The Good, the Bad and the Ugly". Altogether one of my favorite films of the period of Totò's artistic maturity, though still soaked in a fair dose of naivety, which leaves a pleasing aftertaste of old times in your mouth. In one of the scenes, when the eunuch is attending the women on the "forbidden-to-men" side of the beach, and he's telling his adventures in exotic lands, the women ask him how many wives do they have over there. He answers of course they have many ... up to 50 and more! ... Wow, go the ladies ... But you have to reckon - he continues - that it implies also 49 mothers-in-law ... Why only 49? ... asks one of them, a young woman ... Well, you see ... averaging, you certainly will find at least one orphan among 50 ladies ... These were the kind of unearthly things Totò could conjure up, out of his magician's hat: 1953! Can you recall what other comedians around the world were proposing in those days? ... Bye, Pino.

L'imperatore di Capri (1949)

The Prince of Laughter plays the Emperor of Capri

[10/10 · 14 September 2017]

The "Prince of Laughter" plays the "Emperor of Capri" ... This film - as many others of Totò's - presents linguistic and dialectal difficulties, to which today's cultural differences must be added, due to the years that have gone by; anyway, whenever I happen to watch this film I cannot help but observe what a precursor of times Totò was. We are talking of 1949 year, just a few years since WWII ended, and already in the wake of the Cold War; the culture and the customs of those times were what they were, and yet our Totò did cut off all the commonplaces, and dissected everything that seemed formally respectable in the society of the time. Italy was far from the post-war revival that would lead to the following 'economic boom' of the 1960s. The country was largely underdeveloped and wide pockets of illiteracy persisted. Yet, in spite of all this, it emerges the very modern humor of the "Prince of Laughter". A fierce satire of socialite costumes, and his striking way of cracking jokes make of this one an always present-day kind of film. I'd just like trying to translate for you one of the typically unheard-of jokes in this movie: when everyone is convinced that poor DeFazio - who knows nothing about it - is covertly the "Bei of Agapur", they turn to him with deference using the title of "Your Highness ..."; not understanding the reason behind it, poor DeFazio answers naively: " Mine? ... 5 feet and 4 inches ... This looks kinda easy verbal slip-up to think of, these days, but we're talking about the year 1949! ... Quite a few American film makers say they got some of their inspiration from the Italian "Neo Realismo" ... I'm sure they'd have got no lesser inspiration from Totò's filmography ... provided studying some Italian first ... ;=))

PS. Some of the characters of this film will be taken up and developed by Totò in another beautiful film of his: Totò a colori (Totò in color, 1952); in which social satire becomes fierce, disrespectful, and even blatant. Of course, being the jokes in part already known, one might think they are less effective, but the art of the comedian is such that you cannot avoid laughing, again and again, and each time it's like one has never heard them before.

Totò, Peppino e la... malafemmina (1956)

Malafemmina ≈ heartbreaker ? ≈ a female that breaks your heart and doesn't care at all ...

[13 August 2017]

I'm pleasantly impressed by the positive general judgments and reviews about this magnificent film (especially as also expressed by non-Italians), the reason being the fact that it's a comedy subtly concealed by many 'dialect' puns (sometimes even extended to various European languages ...). I would like to add to all the other reviews just one important element: the one related to the song that 'inspired' this film, and that has encouraged a whole genre in the following years in Italy. The song 'Malafemmina' was written - and often sung - by Totò himself (a 'Princely' poet as well). The term 'malafemmina' has many shades, and does not necessarily have to be referred to a woman's moral habits, but in this case it should be understood more as a 'cruelty of heart' attributed to women who does not care about the evil she can do to those who happen to be caught between their 'clutches' ... The film is the result of a perfect mix of situations that allow two great products from the Italian revue theater to express their full potential and in some cases genius. Genius manifests itself only when the conditions for its emergence are created, and therefore everyone is deserving in this film, because everyone contributed to the end result: comical perfection! If something special about this movie has to remain in you, that is just the song itself: listen carefully to it, and if you do not know the language then look for a translation on the web ... And an additional advice, look for another poem of Totò's, possibly in your own language: 'a livella (ie: the bubble level) ... It will help you understand why Totò (also the 'Prince' ... of laughter) was so great.

P.S. For those who aren't acquainted with the subject, it's useful to know that Totò was indeed entitled to 'princedom' in sheer terms of heraldry. That's the reason for so many allusions as of above.

Il compagno Don Camillo (1965)

As an Italian this is the one that likes me the most ...

[10/10 · 23 April 2017]

Of course it's difficult for a 4.th episode to be original and liking as the original one. But here there is as usual a problem with the language (being furthermore typical dialectal expressions), and also one with the political situation of those days between the West and the Comunist world. Aamof, the movie is divided in two parts: the first half is basically located in the same village and with the same rivalry as in the other movies of the series, while the second half changes completely setting and develops in a sort of mirror village beyond the "iron curtain" in Russia !!! One of the most amusing scenes in this film - and possibly of all the series - is the one related to the Don Camillo's "hunger strike" ... Many people among the youth may not recall the political climate of those days, between the western world and the East: there were attempts to make the peace, but there was also menace of a possible clash of titans with the threat of the "bomb"! ... This is why - maybe - some people don't catch all the nuances of this movie, and consequently find it difficult liking it ... I regret I can't help them, but I can assure you that - as an Italian - this is the one that likes me the most ... Zio Pino. PS. As already noted the title is completely misleading. Not only because Moscow has nothing to do with the story, but also because it completely misses the allusive intentions of the original one. A better solution would have been: "Tovarisch Don Camillo" or else "Comrade Don Camillo" and so on ...

Scipio the African (1971) (1971)

Much too difficult to be fully grasped by not Italian-mother-tongue people ...

[17 March 2017]

Much too difficult to be fully grasped by not Italian-mother-tongue people ... I'm afraid I don't agree with the main review by the Scottish fellow. Things are quite different from what appear to be, although I can understand the point of view of a non Italian ... This film is not so much about an episode in Roman history, as it is indeed about life and people themselves ... All over the world and all along times ... Here, the figure of Scipio is one that entails all men with an unbreakable ideal in their mind and his fight against a world of common people hopelessly prone to everyday trivialities ... It is a story about the impossibility for the later to comprehend the former, and about inevitability of disenchantment of this heroic figure, as he expects gratitude and respect for his out-of-the-ordinary deeds ... Even the role of his wife Emilia (well performed by Silvana Mangano) is there to underline the fact that Scipio was a problem even before his conquests, in his family relations, and afterward he became a problem to all Romans at large ... There are two connections to Greek tragedy as well in the "narrating" roles of Giove Capitolino (Turi Ferro) and Licia (Wendy D'Olive) ... Which represent the ideals of the mythological Rome of the Fathers; both of which - in the end - can't help but see Scipio go away and give up his home town with sadness and dismay ... I've watched this film every time it was broadcast by the TV, and I must admit that I myself was disappointed originally, because of some apparent approximations - like for instance the improbable aforementioned ruins - and mostly for the use in dialogues of present Roman slang ... But indeed this is an issue: The end of the heroes - like Scipio and Cato himself - didn't preserve the republic in the end and even today - in our present republic - we can see the same misery in human behavior; the ruins where already there in those times and were the ruins of humanity and decency; the use of Roman slang is the metaphor of the language of the resentful people, good only at talking about miserable things ... Scipio went to war to save his homeland and their national pride ... high-minded and ready to win or die for Rome ... But on his return, he found a different country; one without anymore fear and ready to live a quiet life in freedom and safety: NO MORE HEROES NEEDED ! Scipio learns the truth only thanks to a cruel outburst by Emilia, that clarify things to him. Then he goes to Senate and falsely confesses any kind of misdeeds ... This is the main point, in which a very cryptic (for non Italians) dialect exchange of lines explains why all that fuss was needed ... Scipio and Cato are finally aware - in private - of being probably the only two honest men in Rome, but nobody has to know ... for the sake of the Republic (in which everybody is - and must be - equal) ... the only important thing to be protected ...

*** PS. Much too difficult to be fully grasped - in the original release - by not Italian-mother-tongue people ... Not even to mention it, in a dubbed version! ...

Thunderball (1965)

Did anybody notice, what tragedy could have happened in the very last scene of this movie?

[10 March 2017]

Did anybody notice, what tragedy could have happened in the very last scene of this movie? When Bond and Domino are in the dinghy and he loosens the inflatable arrow, he does a lot of movements and finally embraces the girl ... If that scene were to continue uncut, Bond would loose - at least - an arm, if not worse ... In the scene before they are both lifted by the plane, the cable ends up under Bond's armpit which in turn embraces Domino ... He will be hanged by his shoulder an get shredded by the sudden tear of the wire ... He was luckier than ever ...

Riuscirà il nostro eroe a ritrovare il più grande diamante del mondo? (1971)

>demented ... betnemeb<

[1/10 · 24 January 2017]

Trying to be funny ... succeeding in being ... ... >demented ... betnemeb< ...

PINO

PS. It's just the epitome of what we Italians would define "impresentabile", which means unpresentable/ratty ... in all respects. There have been plenty of this kind of movies, especially during the sixties and seventies of last century, but this one is probably close to beating them all ... The particularity here is the presence of Ray Danton as the leading character, probably I guess because the producers had in mind to sell this movie worldwide ... but that would have been ambition beyond all imagination ... It seems that only Italians have been "lucky" enough to see it, and even now in 2017, we can occasionally enjoy it in television ...

PPS. This movie has also an alternative title: "Corri, corri... Jimmy Logan", which in English sounds like "Run, run ... Jimmy Logan". Try translating the main title is a deed I dare not even attempt ... but here's the Google version: "Will our hero to regain the largest diamond in the world?" ... whoa! ...

=== finis

La ballata dei mariti (1963)

Bad comedy but worth seeing early mind-blowing color Rosalba Neri's appearance.

[2/10 · 26 July 2013]

Rather bad comedy but worth seeing it just because of an early mind-blowing color Rosalba Neri's appearance. If you know what I'm talking about! This movie is a kind of summertime easygoing Italian comedy about husbands' love adventures ... In Italy those where the years of economic "boom" and people lived in a sort of American dream ... There used to be the idea that wives and children should go on holiday far away at the beach, while husbands took a ride on the wild side. Nothing to be bothered with anyway but!!!! Ther'is something unforgettable and that is a short but ecstatic appearance of a most beautiful Italy's actress Rosalba Neri: indeed an experience of its own. She would later be defined "the Sphinx" for her naughty glance and mysterious beauty. If you don't know yet check it anywhere on the web and see. by zio pino.

The Facts of Murder (1959)

very good but just a bit overacted, to my modest opinion.

[8/10 · 1 August 2012]

Un maledetto imbroglio (1959) is a very good movie, it tells us about a country -Italy- still far from the wealth of the sixties, where low class people struggled to make a decent living, and illiteracy was still spread ... Higher class people could threaten poor peoples lives for trivial reasons and meantime humiliate them with their unjustified wealth ... Of course the Germi's task was simplified by the great book it started with, still the Director has his merits: the irony to start with. I basically agree with other opinions. if a catch can be found, I'd say acting is a little bit much too heavy. A kind of "Venus's strabismus"... Some of the actors (Eleonora Rossi Drago, Nino Castelnuovo and at times also Germi himself)overdo - overindulge in - their roles ... They fall into unnecessary theatrical poses. to my opinion the drama is in the facts being narrated and need not much emphasizing by the actors.

very good by all means, but just a bit overacted, to my modest opinion.

pion