Monday, October 4, 2010

In Public Without Underwear

Two matches

Full '60s. Four Italian bourgeois ladies meet every Thursday at the home of each rotation to play Rummy. Their daughters in the other room to play to the ladies - like their mothers - and cutting out pictures of Princess Grace of Monaco by the magazines. You play, you drink tea, smoke, especially speaking. There is much talk, often harshly, in their lives and their dreams, often broken or repressed or rejected. And the chats you up and down in a succession of invective, anger, hysteria and take some small reassurance. Beatrice is expecting a baby and the last grief, with a leap in time, leads the audience in the '90s where the daughters are working together to comfort the mourning of Sarah, daughter of Beatrice, who lost her mother in those days.
Through this boundary between the ideal world of mothers, framed in the '60s, and her daughter ended in the '90s, sets out a framework of two orders whose common features are the same even though thirty years have elapsed and a generation.
The picture of the bourgeois world is truly family-60s well made: in the mirror of the times was required simply (!) that women are good wives and good mothers, disabled people in the kitchen, make up and combed Mina as crickets and possibly without his head. At least in appearance. But beneath the enamel of self-righteous perfection, through the heated conversations of the characters, we discover a world where the personal and emotional dissatisfaction is the master. There are those who deny it to the mask almost like Claudia, but whoever evisceration with rabid cynicism and suffering as Sofia. Who does not want to surrender and hope for a better future as Beatrice, except having to confess that the lack of communication and the emotional void created for building a respectable appearance and vacuous, have slowly led his mother to suicide. And here come out stories of betrayal, implemented or against or simply want. Each tells their stories, providing them with the personal vision of life of each of them reverberating hope, disillusionment, acquiescence or mere nihilism.
The dialogue is certainly the successful lead of this film, although they remain the best ones of the first part of the movie where the protagonists are the "mothers" of the '60s. Among these are sure to frame the two monologues of Sofia, the first where he tells his daughter how to describe their parents in everyday life:

- ... laugh out of here, you dress smart and go to meet people. Give me a goodnight kiss and run away. We separate the house, returned late at night, each its own. Make up like two teenagers uncombed, rumpled clothes ... happy! And the happiness on your faces off with the click of the light at the entrance -

the second sequence on motherhood / marriage / personal development:

- ... we enjoy seeing our body swollen like a balloon, to give up talent to freedom. We want to be related to someone even if it chokes! We want to be someone else! And there is no end! There is no cure! -

Years pass. The daughters grow up. Years have passed. Do not you listen more to Mina "A year of love," not driving the Lancia Fulvia. Change the vocabulary and language. But the eternal themes of family, love relationships that dominate the story does not change. And the problems of the daughters are the same mothers who had thirty years ago.

Born as a theatrical piece with the same actresses, its film version is even tastier. A small masterpiece written by Cristina Comencini and elegantly directed by Enzo Monteleone. You ask if I liked it? The answer is yes. And even more!


Post a Comment