This is an episodic film by Marco Ferreri's 1965 performer of the main Ugo Tognazzi.
The four episodes that make up the film (his first marriage, the marital, marital Hygiene, The happy family) are subject to the crisis the institution of marriage in contemporary society.
approach to the issue dealt with is traditional and at the same time today. It could be said for the time when it was created is an experimental film, rather than the language used for the solutions developed at the level of narrative script. The man who created the institution of marriage determines its inner contradiction. It seeks stability in the couple's bond together but we live in constant search of the other and different, captivated by their instincts and their instincts.
in "Before wedding" two pairs of the upper class 'combine' the wedding of their purebred dogs. After a long engagement (during which the dog is forced to wear a pair of pants), marriage is actually held by the notary and consumed in the study of the veterinarian (who has set up a bridal chamber).
In "conjugal duty" a family man, having put his son in bed, trying in vain to have a relationship with his wife, but this, after a tug-ridiculous, unable to sleep.
The episode "marital hygiene" is set in New York. Frank and his wife participate in a sort of group therapy with other married couples, including a priest who repeatedly stated the necessity of having a sexual fantasy to "save the marriage." At first embarrassed, Frank will eventually consume adultery with the hostess.
The latest episode titled "happy family" is set in the near future (around 1990). The institution of marriage was saved thanks to the invention of robots replacing wives, husbands and children. The protagonist lives happily on an island (it would seem Giannutri) with his wife-dummy, until the arrival of a younger man, 'married' with a more advanced model of the dummy, not in crisis. After praying in vain for the young to borrow the wife, the dejected protagonist retires in a cave, where he talks about his disappointment with his wife-automaton, which begins to cry.
One wonders why the contemporary cinema is not able to churn out products as innovative in the 60s?
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