The film consists of six short stories created by different directors, but all the stories share one thing: a warm irony to current events.
Italian PORTMANTEAU film, a bit uneven.
Segment four by Pier Paolo Pasolini is by far the best; a completely MINDBLOWING and DERANGED rendering of OTHELLO played in a puppet theatre with human marionettes!
TOTÒ has the main role in this, and also in segment 2, where he hates Italian beatniks and stalks them as THE SUNDAY MONSTER! Both segments are very funny in completely different ways, but segment 2 would probably not have worked without Totò.
Segment 5 is completely unlike everything else; four minutes short, based on a animated cartoon by Pino Zac, and with Silvana Mangano as the Queen of England, and with guest appearances by James Bond (model Sean Connery)! The other three segments are fully watchable, although not so FAR OUT as number 2, 4 and 5. Continue reading
Toto most successfully attempts to go one better than Chaplin in this entry in which he cleverly uses his expressive face not only to telegraph laughs but to induce audience sympathy. Set against a war-scarred Rome in the middle of winter, Toto plays a petty thief, living on his wits to provide for his family, who are uncomplainingly making the best of a small, cold-water flat with no heating. The screenplay divertingly contrasts the gaunt, if talkative Toto with excitable, roly-poly but equally loquacious Aldo Fabrizi, playing a fathead police sergeant whose family is housed in comparative luxury.
The catalyst for the plot’s ingenious action is provided by that under-rated born-in-Wisconsin actor, William Tubbs, who is wonderfully perfect here in a major role which gently pokes fun at Americans. Not only are all his scenes an absolute howl, but they are most cleverly contrived to increase in intensity as the plot progresses. You will chuckle as Toto leads him on a merry path through the Forum in his introductory scene, gasp with delight when he confronts Toto at the grocery hand-out, split your sides when he gives chase to Toto all over the countryside, and absolutely roll on the floor when he complains bitterly to Fabrizi and Carloni at the police station. This riotous scene, cleverly compounded, when Tubbs finally exits, by a gloriously satiric look at various police regulations, marks the end of the First Act.
Imdb User Reviews
13 June 2003 | by Mario Pio (Venezia, Italy)
When in the 1976 “Febbre da cavallo” exit in cinema not so much people went to see it. The status of “cult” movie starts from the various nocturnal passages in the private tv, during the ’80. That’s why people loves “Febbre” in this way (a little bit exaggerated). It’s a personal people discover. This is not the “pinnacle” of italian comedy. It’s only a little movie but funny and memorable in some of its parts. There is one thing over others: the actors are really good, better then some late italian comedies, in a time when comedy leaves for sexy italian comedy, the “commediaccia”. So, no Alberto Sordi, not Tognazzi but Gigi Proietti (an excellent, hystrionic theathre actor), and Enrico Montesano, in one of his few good performance on cinema. Enjoy this movie and…”vai cor tango!” Continue reading
An omnibus film that turned out to become Totò’s last movie and also features Silvana Mangano.It pokes fun at some traits of italian life and society of the late 60s. It offers something for everyone, a great pasolini episode and classical italian comedy by some of the most acclaimed representants of the genre. Continue reading
Description: Anna wants to improve her marriage to sculptor Marco but ends up having an affair with her new teacher Antonio as well. While performing a careful balancing act alternating between her two lovers, she becomes pregnant and is, not unsurprisingly, unsure by whom. Therefore she goes to a weekend retreat on her own. Marco and Antonio meet, having both come to the train station to say goodbye to Anna and immediately hit it off. They decide to have a boy’s night out on their free weekend. Continue reading