made with
sorry for the mistakes!
Tranquille donne di campagna
After "Candido Erotico" Claudio Giorgi tries
again the mixture of genres, mixing and confuse us with a movie a
little 'dramatic and a little' comedy. One thing that shows all limits
of a film uncertain, boring and predictable.
It must recognize that Giorgi exploits well his small budget, avoid the
problem of reconstruction of the historical period (we are in 1936) by
placing the whole story in a house and leaving to the hairstyles,
clothes and words the meaning of the period.
A big saving that allows him to have a good cast, which relies
primarily on the usual excellent Philippe Leroy able once again to give
depth to his character. Too bad the other performers, with the
exception of Rosanna Podestà, are far less credible and the
story is banal. Christian Borromeo who plays Alberto, the other main
male character does not go beyond his astonished expressions and much
worse do Germana Savo, in the role of annoying Elisa.
The newcomer Serena Grandi in the role of a maid and Silvia Dionisio
with a character turn point of history is the two beautiful of the
movie, exploited in all their beauty.
Guido Maldini (Philippe Leroy) is the sultan of the family estate where
he lives with his wife, children, cousin and maid. Convinced fascist,
misogynist pimp, has a great self-esteem and very little of everyone
else, of women to which he enslave to his will and especially his son
Alberto, a fragile boy, shy and submissive.
Alberto suffers everything, insults, psychological violence, and
physical and tries to find help in the other women. But even they are
not perfect. The mother (Rosanna Podestà) has a relationship
with the prefect (Silvano Tranquilli) and the aunt (Carmen Scarpitta)
doesn’t mind an intimate approach with the guy. The only saving
grace is the clever little sister Elisa (Germana Savo), to which is
added after the presence of her cousin Gloria (Silvia Dionisio).
The arrival of Gloria, with whom Albert has a romantic relationship,
might wake up him and make things change. But she is overwhelmed by
Guido.
The final crescendo a bit 'pulled and predictable, closes a very
pretentious film that probably wanted to discuss about psychology.
It’s a too high goal for Giorgi and in his already short
filmography we prefer the erotic comedies.