Casanova '70
| Movie | |
|---|---|
| German title | Casanova '70 |
| Original title | Casanova '70 |
| Country of production | Italy , France |
| original language | Italian |
| Publishing year | 1965 |
| length | 107 minutes |
| Rod | |
| Director | Mario Monicelli |
| script |
Suso Cecchi D'Amico Age & Scarpelli Mario Monicelli based on an idea by Tonino Guerra Giorgio Salvioni |
| production | Carlo Ponti |
| music |
Armando Trovajoli Franco Bassi |
| camera | Aldo Tonti |
| cut | Ruggero Mastroianni |
| occupation | |
| |
Casanova 70 is an Italian-French comedy film from the year 1965 . The main role was played by Marcello Mastroianni , directed by Mario Monicelli . In this modern variant of Giacomo Casanova , the hero, unlike the model from the 18th century, is blocked by many women.
action
The Italian major Colombetti is stationed at a NATO post near Paris. All women fall for the irresistible ladyboy, but he is bored with them. When his newest girlfriend Noelle throws at him that he is impotent, he seeks a psychoanalyst. He tells the doctor about two adventures in which he recently failed at the crucial moment.
With an Indonesian hostess, for whom there was a short shepherd's hour between two flights, he began to play for time; He sang to a chambermaid who he performed on a gondola all night instead of leading her to bed. The doctor rejects his fear of impotence and makes the diagnosis that he only finds a woman attractive if he is at risk - so that he does not take any risks for himself or others, he should abstain from any woman. While doing winter sports, Colombetti makes the acquaintance of young Gigliola, whom his parents don't allow, and he spends relaxing days. When he goes to the circus together, he cannot resist stepping into the cage with the lion tamer - scandalous behavior for Gigliola's parents. The next attractive target is the wife of his superior, who finds him in the closet and assigns him to Sicily as a punishment. There he makes the acquaintance of Thelma, who is married to a rich, elderly and very jealous count. Colombetti describes her place and time for a rendezvous to which she does not appear. Instead, he witnessed a tragedy there because a young man refused to marry his former fiancée because she was allegedly no longer a virgin. He pretends to be a doctor, stays alone in the room with her and picks her up. Startled by the actual doctor, he takes a breakneck escape from the armed family ties and falls with the car down a cliff. In this emergency he finds shelter with Gigliola, whose mother has become more understanding and no longer demands chastity from her. With that, Gigliola is no longer attractive to him and he runs away. At the train station he hears superstitious men talking about a podiatrist. Several men who slept with her are said to have died later. He goes to her and she explains to him that with several thousand men it is statistically to be expected that a few will die.
At an art auction in Vicenza , he discovers Thelma and the Count. Because the latter closely guarded his wife, Colombetti cannot be alone with her. Because of the Count's deafness, however, she has no hesitation in exchanging hot words of love with Colombetti in his presence. The major pretends to be an art dealer and at the weekend travels to the count's remote estate, who invites him to stay the night. Thelma dances to loud music with Colombetti at night. They agree to saw a stone ball that forms part of the balcony railing and to let it fall on the count. The latter, who is by no means deaf, noticed this very well and tried to lead the major into the trap, but eventually became the victim. Colombetti comes to court, where numerous exiles testify about him. He justifies himself that he needed a special tickle because the women are now so open-minded and ready to surrender quickly. He is acquitted, appears cured and marries Gigliola. But instead of going through the door into the bedroom, he climbs over to her on the facade of the skyscraper.
Reviews '65
The Italian La Stampa ruled that the film did not pursue any ideological goals or purposes to entertain. Although the comic ideas aren't always top notch, the film once again dismantles the seducer myth. "Constantly changing backgrounds, a constant change of beautiful women, [...] a proven, sympathetic actor like Mastroianni, [...] the light hand and the director's often noticeable wit make it a pleasant and biting drama." Il Giorno found the film funny, varied and elegant. And also superficial, because he shows no desire to deepen the motifs of figures.
Der Spiegel also said that the film did not seek psychological deepening : Monicelli is “more about having fun than Freud ”, the magazine scolded. The catholic film service warned of the "sexual posse", which was a "complete wrong track". From the capable director Monicelli one would have expected “more taste and discretion, less clumsy caricature and flat speculation.” The women, “almost a dozen nude magazine beauties”, functioned as “objects of pleasure - never as subjects of erotic attraction”. And: "The new film Casanova has apparently never heard of the fact that there are women whose conquest demands a dimension other than the sexual one." According to the magazine Filmkritik , the film serves "the joy of looking at beautiful girls". This makes him “one of those commercial films in which the will of the people works on the script through the producer's mouth.” Despite these conditions, “something acceptable” emerged. “It has been established that a society which delights in detective stories has an excess of state-loyal sentiments; from this one can deduce the moral rigor of an audience that delights in a film beau that is driven from one beauty to another [...] ”. It is true that the film exploits the confusion between sexuality and eroticism, "but in details the director has turned the mechanics of industrial amusement a few degrees so that it no longer resembles the ringing of a cash register as penetratingly."
Awards
At the film festival in San Sebastián , the film was awarded the prizes for the best director and for the best actor. In 1966 he was nominated for an Oscar for Best Original Screenplay.
Web links
- Casanova '70 in the Internet Movie Database (English)
Individual evidence
- ^ Leo Pestelli in La Stampa , October 25, 1965, cited above. in: Claudio G. Fava, Mathilde Hochkofler: Marcello Mastroianni. His films - his life. Heyne, Munich 1988, ISBN 3-453-02625-X , p. 283
- ↑ P. Bianchi in Il Giorno , October 1965, cited above. in: Roberto Poppi, Mario Pecorari: Dizionario del cinema italiano: I film. Volume III A / L. Tutti i film italiani dal 1960 al 1969. Gremese Editore, Rome 2007, ISBN 978-88-8440-478-7 , p. 116
- ↑ Der Spiegel , No. 41/1965 of October 6, 1965, short review in the section "New in Germany": Casanova 70 (Italy / France)
- ↑ film-dienst No. 41/1965, drawn by "Jt / -ndt"
- ^ Herbert Linder: Casanova '70 . In: Filmkritik , No. 11/1965, pp. 630–631