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The wedding march

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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Ju-on (呪 怨, Juon). The Grudge. Resentment. I know her well

" When someone dies in the grip of a great rage, a curse is born. This curse is concentrated in the place of death. All those who come into contact with it will be consumed by its fury "

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Adriana is a young girl fled from the province of Pistoia, groped to build a richer life and moving to Rome.

His reckless and anarchic youthful curiosity mixed with a sort of imponderable passive acceptance of what exists, the urge to carry out lazily trades different from a small hair salon manicure in the form of anonymous suburbs and dreaming of a cinema, pushing it to live and love and superficial relationships with men seeming distant and remote from his mischievous and often unmanageable desire for research and experimentation.

Perhaps it is the lightness of Adriana inconsistent to prevent her from living stable and constructive relations, to address specifically, beyond abstract fantasies of his youth dictated by its radical childish, mature relationships in touch with the needs of the present. For

Ettore Scola (co-writer of the film along with Maccari and at the same Pietrangeli), the target should not be focused on the controversial figure inconsistent Adriana and irresponsible in its chronic inability to determine their own destiny to the end, to vegetate in a muffled world of non-existent and without illusions and vain hopes, but vice versa on the men around her and desire.

This shift is important because it brings out the polyphony of the subjects in the field, the choral narrative is broken down into seemingly secondary characters and tangential, but in reality crucial to the development of clear interpretation of the entire film.

So are the very men who wish and circuit Adriana, expressing their "spineless", anonymous and empty elements of a gear, too silent and overpowering, that kills any momentum and level of quality that infects every progressive and momentum for change. Examples of a society governed on the appearance of clichés about how the formalism masks evergreen habit.

In this perspective the male characters (who can not - nor want - to understand the complex problematic of Adriana), to give a further important cornerstone of the whole idea by Pietrangeli, represent the old man who does violence to the new , the past violence with insistent knocking at the doors of the future, but at the same time show, so now, the inner contradiction. So

Pietrangeli's gaze on the figure of a volatile and evanescent-town girl in search of fortune turns as look at a company that is changing. Then, as now, the social causes and re-define the role of actors in human history.

Therefore it is that Adriana is not able to relate specifically to the men around him, to what surrounds it, but it is exactly the contrary.

But the fact remains that the skill, often disarming, Adriana in passing from one lover to another as from one job to another, mechanically reproducing a condition inexorably, without any hope or way out, thus letting the current drag of the events giving rise to a human dimension is naively indifferent to the drama of life that the choice of a premature death. You could say a

infantilism as stasis.

to throw in the world of fashion and film, taking part as an extra at a party organized to deliver a prize to a great actor (which hovers in that grotesque cynicism and melancholy of intellectuals in search of an identity failed terrace of La Scola) Adriana finally discovers the tragic duality of life, to find himself in an instant and the instant after the altar into the abyss of anonymity and derision.

And it is living a total, absolute in some ways, that is free from constraints and specific responsibilities for social and annihilating it, hybrid and indecipherable, pushing Adriana, after a wild night of drinking to dance, to suicide, which is also not planned or calculated, but this right from the start in 'intention of the young. As if he did what he does with the deep hope of death, a purpose that gives meaning to their existence and identity.

This is a final "open" in this sense fully democratic (which already caused controversies and debates at the time), in which anyone can find the figure of a story are not easy to declination. We

once again overlooked, in the cinema of Pietrangeli, a woman who divorces his dreams by a society that rejects and rejects it as an element of disorder and innovation, the desire to be - all the way - what it is without compromises.

Death terminating in a single experience of the young protagonist and the end of the film (as a gimmick that will be resumed after about ten years - only to some extent - by Michelangelo Antonioni in Profession reporter) is a semiotic device capable of making sense, beyond the simple allegory end = failure = death. The potency of framing

significant final vertical camera that reaches the asphalt soil affects not only the human story of Adriana, but also and more generally the performance of a company, still linked to the structures of the past, which is projected into the unknown future development.

is perhaps in the extreme and courageous final act of suicide that the protagonist frees himself from his disability and society, referring to it those responsibilities that surface (the company) had failed in respect of preparing the new.

I know her well by Antonio Pietrangeli (1965), featuring: Stefania Sandrelli, Nino Manfredi, Ugo Tognazzi, Franco Fabrizi, Turi Ferro, Franco Nero, Jean-Claude Brialy, Mario Adorf, Enrico Maria Salerno, Solvi Stubing. Photograph: Armando Nannuzzi. Editor: Franco Fraticelli. Music: Piero Piccioni.

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Boredom

In that moment that I shook my neck, I thought the only way, perhaps, have had to kill Cecilia. Killing would have stripped everything that made her shut up in prison el'avrei elusive final death.

Boredom is a novel by Alberto Moravia and Einaudi published in 1960. The narration is done in first person as a monologue of the protagonist, who narrates and explains his story. Incisive prose from the novel, is a merciless portrait of social alienation and an investigation of the relationship with reality through the category of ownership, typically bourgeois.
History of existential unease, a series of failures and disappointments, the novel recounts the experiences of Dino, who in the guise of an artist, a man and a lover, clashes with the impossibility of reality. The protagonist seeks to understand the boredom that afflicts him since he was a child, causing difficulty in their studies and now, as adults, become a painter, keeps him from painting. Attributing the source of annoyance to his wealth and maternal care, Dino left the house on the Via Appia to settle in a study being Margutta occur here's amorous encounters with Cecilia, a former lover Balestrieri, a painter who is senior to the young model and alter ego. Yet the relationship with the woman he loves, this is reduced to just sex, is experienced by the protagonist as a feeling dead, empty, until she can not find another man. At that point, Dino goes mad with jealousy and began to stalk, petty and desperate to get to the point of trying to kill her. But it will be overwhelmed by their inability and at the end, after a failed attempt at suicide, the hospital, they can understand love Cecilia.
The novel was adapted into a 1963 film directed by Damiano Damiani starring Catherine Spaak, Horst Buchholz, Bette Davis, Lea Padovani and Isa Miranda. A remake of the same title was produced by Cédric Kahn in 1998 with Charles Berling, Sophie Guillemin.
The first film does not seem appropriate to the topics developed in the novel, if only for the historical moment in which it was made, and the limitations of coercive censorship of the time. The central theme is in fact the sexual relationship between Cecilia and Dino. The unhealthy relationship between the two characters is not made in an authentic covered in the book. The actors seem too detached from the dramatic flow of the text and perhaps the image is too clean in the performance of the murky context of the story.
more "realistic" the second film. Maybe less efficient with regard to the film technique, the protagonists are more authentic and when the script more nuanced than the narrative development of the novel.

The contemplation of the tree. I did not think anything, I just wondered when and how I recognized the reality of the tree, that I had recognized the existence of such an object that was different from me, he had no dealings with me and yet there was and could not be ignored. Evidently something had happened right when I had launched the car off the road, something which, in other words, could be defined as the collapse of unsustainable ambition. Now gazed at the tree with infinite complacency, as if to feel different and independent from me, was what made me more pleasure.