Mary Poppins Returns
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All Critics (7)
| Top Critics (3)
| Fresh (6)
| Rotten (1)
| DVD (3)
Offers more than filmographic interest.
Mr. Bertolucci's dissections reveal the lying and viciousness common to these beasts in the human jungle.
The result is stylish and occasionally haunting.
Bernardo Bertolucci the poet, declaring a change of medium
Never loses its grip on the viewer.
strangely lacking, despite its salacious premise
This movie reminds me so much of Roshomon, but slower and more boring. There are some good scenes, but for the most part, it's not a great movie. It's just okay.
In "La Commare Secca," a prostitute(Wanda Rocci) has been murdered in a park. The police have cast their net far and wide for leads while the disembodied voice of law and order interviews possible witnesses and suspects who might have seen anything. Making matters more difficult is the interviewees not exactly being forthright. Starting off is Luciano(Francesco Ruiu) who has gotten a job recommendation from a couple of priests before joining up with his pals Nino(Giancarlo De Rosa) and Sindaco(Vincenzo Ciccora), as they attempt to rob distracted couples in the park. Bostelli(Alfredo Leggi) is a former criminal who has apparently gone straight but still cheats on his wife Esperia(Gabriella Giorgelli) with whom he runs a protection racket.
With its unique story structure and directed by Bernardo Bertolucci, "La Commare Secca" is a not entirely successful movie, nor is it entirely without merit. It manages to paint a vivid tableau on a particular day about characters on the move who cannot find any stability which can mean a legitimate job. On the other hand, all the pieces of the puzzle do not exactly fit together as the mystery is resolved a little too perfunctorily.
Experimentally smart and well-paced, Bertolucci's vision was kept on a tight leash as a result of a clearly restrictive budget. Nevertheless, it's an interesting and inolving picture, and it's a tremendous achievement from such a young filmmaker. It's obviously inspired by Kurosawa's Rashomon (1950), but Bertolucci brings a lot of his own ideas to the screen.
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