Vado, library room January 17, 2011, at 21
The first nice thing
Paolo Virzi, Italy 2009
Mom, laughter and lots of emotion
forgoing references to the social and ideological suggestions Paolo Virzi makes its amarcord Leghorn and family, the interposed his autobiography for young people (just like he did in Baarìa Tornatore, as ruby \u200b\u200bin its Puglia, Placido as in "his" Sixty-eight). Virzi does this through a story that has lasted forty choral 'years. With the center Bruno (Valerio Mastandrea), unrealized unhappy introvert, who fled away from redundancy, from 'exuberance, the contagious love of life of Anna. His mother. When she returns from which (but not more Ramazzotti Sandrelli) is dying. Funny and touching, bitter and hopeful. C 'is all.
Paolo D'Agostini The Republic You're still the best Italian comedies
I know her well. Paolo Virzi knows kindly bluff from the first thirty to forty minutes of the first beautiful thing. The portrait of dreamy young lady, simple and cheerful, two kids, irascible husband, harmless lovers scattered, some rich shark that wants to break into the world of cinema is that of a character, a recurrent figure, an archetype of the Italian cinema Antonio Pietrangeli or Valerio Zurlini. A hide and seek game with memories more viewers love that inveterate film buff, seasoned with a touch of comedy to bitter Risi. Served here is soul and body in Michelucci Nigiotti Anna (played by a girl Micaela Ramazzotti, then the present day by Stefania Sandrelli) scapicollandosi run through the streets of Livorno early 70s, with children caught it by the hand after another quarrel with her husband Marshall (an admirable Sergio Albella, Stanislavsky method). But be careful: the character of Anna è l'elemento centrale di un film corale, in divenire, mischiato di continuo come un mazzo di carte da gioco color amaranto livornese, dove la gioiosa madre, sbarazzina in accoppiamenti e sentimenti, è punto centrale da cui si irradia una delicata forza centrifuga. Gli occhi larghi e profondi dell'Anna giovane e meno giovane, dentro i quali palpitano dolcezza, amore, passionalità, celano involontariamente anche irrequietezza e blocco psicologico dei figli Valeria e Bruno (da quarantenni oggi Claudia Pandolfi e Valerio Mastandrea): l'una non proprio soddisfatta degli affetti familiari cercatasi fin da diciottenne, l'altro fuggito giovane dalla dolorosa Livorno della sua infanzia e adolescenza. Attorno a loro, alla loro crescita, al loro farsi adult, continuing to reassess the balance of mother-child, father-son, brother, sister, there is also subdued the whole beauty and depth of writing from the first beautiful thing. A film on halftone orchestrated recitatives, ever nostalgic and authentic characterizations of identity and place (the journalist Lenzi - Emanuele Barresi, the incredible reconstruction of the shop mansoni Sport, urban and commercial imagery today completely lost) and a director always one step behind the frenzy, the voices of the vulgar characters who are in perpetual, restrained, conflict. In the continual comings and goings between the years '70-'80 and 2009, Virzi centers, rhetoric without reverence, a pair of sequences from old Italian actor: party at the home of aristocrats (with comic dialogue on the Tofane, gags foul-mouthed little girl with the French governess, the high / low-masters waiters who remember the corrosive Altman's Gosford Park) and the final scene buzzing with laughter, tears and souls crushed in few square centimeters. The first nice thing calms the spirit, remove any appearance of treachery and envy of the characters, enveloping the audience and the cradle with caresses and hugs mother of Anna (Micaela / Stefania). Marco Papa Dino Risi interprets fleetingly.
Davide Turrini Liberation
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