Moretti's debut feature length picture shows little hint of the brilliance that would develop. Navel gazing script concerning the putting on of an 'experimental' play never really seems to get going yet the film seems much longer than it is.
Moretti's slapstick comedy did not age well. Several references today are cryptic to most non-Italian viewers and Moretti's rants and raves today fall flat. Additionally, threatening his son to "Call the ugly black man" would have been considered racist even in the Seventies. Nonetheless, the theatre director's imperative - "One needs abs and pectorals to be truly avant-garde" - is still true today.
It's very disjointed and almost collapses under the weight of its own experimentalism but this is a worthwhile early glimpse of Moretti's art (made when he was only 23). Notable for a rare onscreen appearance by Nanni's literary critic brother Franco and an even rarer use of Subutteo in a film.
A sentimental, dark comedy about the cinema (or theatre) - it's purpose and relation with critics, audience, actors and about the creative process itself. This is also a film about complicated relationships with women, independence, rejection, and loneliness. I was surprised how beautifully the small, trivial and often sad elements of life are presented here and actually are an integral part of the experience.
Well, I was really getting little put-off by the first 30 minutes. However, at some hard to notice point the film, the Moretti's subtlety, inteligence and humour comes to the surface, all starts to sum up and this convince you that this is excellent debut.
Much longer than it needs to be. Some sketches become dull, with the performances both here and there. But whenever Moretti is on screen, it's electrifying, sad, funny and a whole range of emotions that only his overbearing charisma can stage. Worth a watch.