C'est avant tout une grande habileté dans le récit qui emporte ce film. En quelques plans séquences et plans larges, on aperçoit tout de suite la folie, l'obsession qui caractérise le personnage : la caméra en gros-plan sur le visage de Luciano suggère toute l'intensité du jeu de regard dans lequel est pris ce personnage qui est moins épié que voyeur obsédé et souvent bouffon.
Though it doesn't really having anything new to say about reality TV, there is much to marvel at in this wonderfully garish picaresque, which inevitably recalls Fellini, but also Ugo Tognazzi and Pasolini. Best of all is Aniello Arena, as Luciano. Blessed with a face that is a landscape in itself, Arena resembles a beefcake Marty Feldman, a bundle of gregarious energy and corrosive self-doubt.
Garrone exquisitely paints a picture of life in southern Italy with the large family gatherings and the nonna preparing meals, before bringing it all crashing to the ground as the modern equivalent of the town circus, shopping mall auditions for Big Brother, sweep through town. As Luciano is caught up in the dream of stardom he loses sight of his family and himself.
Whether this satire completely works or says anything new became irrelevant to my reaction of the film as I focused more and more on the central performance. Aniello Arena is terrific in this and he sells the paranoia. If Gomorrah (which I feel is a lesser film) was compared to Scorsese's mob work, this film is Garrone's King of Comedy.
A fish seller's (with a sideline in fraudulently obtained pasta making robots) obsession with appearing on the Italian version of "Big Brother" spirals into despair and madness. Actually a lot more humorous than that makes it sound - still don't expect a happy ending though it does end with laughter. A dark look at the public's own obsession with reality television and grabbing our own 15 seconds of fame.