A modest Neapolitan man meets a young woman with excessive hairiness. He exhibits her at fairs and marries her.It is after marriage that he receives a tempting offer from a French manager. Read More »
During a Post-Apocalyptic period in the near future the majority of the European population has been wiped out by some sort of undefined plague. Cino and Dora, a young couple, are rounded up by what constitutes the authorities on an isolated temporary base. They are examined and given antibiotics which will protect them for six months, told to pick out a deserted house to live in the area, and use that time to conceive a child. They are later visited by an enigmatic group of black-clothed, initially threatening vigilantes who are evidently satisfied with the couple when they hear that a child is contemplated. However, despite her evident fondness for Cino, Dora is reluctant to try to conceive a baby. Then their domestic tranquility is interrupted by a beautiful French interloper who seems as if she is more than willing to fill in for Nora and conceive Cino’s children. Read More »
In this magnificently inscrutable late-sixties masterpiece, Marco Ferreri, one of European cinema’s most idiosyncratic auteurs, takes us through the looking glass to one seemingly routine night in the life of an Italian gas mask designer, played, in a tour de force performance, by New Wave icon Michel Piccoli. In his claustrophobic mod home, he pampers his pill-popping wife, seduces his maid, and uncovers a gun that may have once been owned by John Dillinger—and then things get even stranger. A surreal political missive about social malaise, Dillinger Is Dead (Dillinger è morto) finds absurdity in the mundane. It is a singular experience, both illogical and grandly existential. Read More »
Ferreri’s film “Los Chicos” (The Boys) is about the lives of four lower-middle class Spanish boys coping with the effects of the Spanish Civil War. The film depicts an inhospitable urban environment, conflict between male and female adolescents, and an atmosphere of social imperfection. “Los Chicos” recieved negative reviews from parents, politicians and religious groups who believed that the film could have a detrimental impact on adolescents. The censors found the film pessimistic, unhealthy, hostile to the Franco regime and a bad influence to urban youth. “Los Chicos” was never shown commercially, there was only one public viewing in Barcelona in 1963. Ferreri, an Italian working in Spain, had his residency permit cancelled and was forced to leave Spain.
— filmaffinity. Read More »
Subversive Italian satirist Marco Ferreri directed and co-wrote (with Rafael Azcona) this grotesquely amusing French black comedy about four men who grow sick of life, and so meet at a remote villa with the goal of literally eating themselves to death. The quartet comes from various walks of life — a pilot (Marcello Mastroianni), a chef (Ugo Tognazzi), a television host (Michel Piccoli), and a judge (Philippe Noiret) — but all are successful men with excessive appetites for life’s pleasures (food is used as mere metaphor here, as graphic as that metaphor becomes). ~ Robert Firsching, All Movie Guide Read More »
Based on the novel by Rafael Azcona, screenplay by Azcona and Marco Ferreri. Rodolfo and Petrita each live in separate quarters in dilapidated Madrid, while looking to have a little apartment (or “pisito”, in Spanish). Unfortunately their low salaries prevent them from acquiring one. Soon, Rodolfo’s co-workers urge him to marry the old and frail Doña Martina, who is the main tenant in the apartment he boards in. According to Spanish rent-control law, he could inherit the lease from his spouse. Thus begin his misgivings and Petrita’s. Read More »
In the hippie era, the motto used to be “never trust anyone over 30.” In this geriatric romance, the motto might be amended to read “never trust anyone under 60.” Still sprightly and interested in life though they are in their 70s, the two lovers in this film are confined in an unsympathetic “rest home” by their relatives and are only able to meet rarely in a camper loaned to them by some black immigrant workers. When the staff at the home get wind of their affair, they take vigorous action to try and “calm them down” simply to reassert their deadening control over them. Eventually the two of them end their romance, but the woman escapes the rest home and finds freedom in the company of the immigrants.
~ Clarke Fountain, All Movie Guide Read More »