Concorso di colpa

This film returns to tell with a deep analysis, thanks to a perfect job of writing of Rossella Drudi, a sad past annoying and all Italian. The direction of Fragasso as one always moves with ability in full dangerous roads of traps. E' a great thriller that with the breath suspended of the final scene. Never before who does not discover itself is the true assassin or guilty, null banal or she is left the case. A new experience that please the lovers of thriller the classic, and who want to think analyzing a past to forget, annoying and sad as who anchor today is obstinate not to want to change ahead watching, and who instead has felt the need to make a "mea culpa" (old Latin language) for the passed errors, than to the comparison dell' today's horror, is youth sins. The social analysis of the today's narcissism and the individualism, that it has transformed l' man in a machine money, without feelings and ethics is absolutely perfect. Competition of guilt is a film to see and see again also for the perfect synchrony of the history, the longest row of to them Chinese box, with precise indications to their inside. I could define this film, a social thriller psychological all to see. We pardon ourselves in order to go ahead improving to us, seems the final outcry of the film. Beautifulst.

I've just rushed out of the theater where this film announcing the return of Francesco Nuti (return from where?) opened today. Claudio Fragasso made an almost okay film a few years back "Palermo Milano Solo Andata" the major problem with that film was a static, humorless script with more holes than a lunar landscape. Now with the complicity of the same scriptwriter, Rossella Drudi, he concocts a shameful piece of opportunistic nonsense. He is even late in the opportunistic department. The whole thing is so old, so unfocused, so stupid. The only humor in the nonsensical script is unintentional and Francesco Nuti, meanders through the film with absolutely nothing to say or do. He seems a graduate from the zombie school of acting. Not even a minute attempt to construct real multi dimensional characters. They're all a tiny ridiculous sketch. Not a single moment of truth and for a thriller not to have a moment of suspense or excitement is really too much. The main reason it doesn't work is because we don't give a damn about any of it. Yes, it's that bad, but not bad enough to be funny it's just boringly bad, bloated with self importance. Tonight, the director will be at the Eden theater to mingle with the audience. I wish he had shown this kind of courage when he was making the movie. To let out my anger let me add that the introduction of the "political connotations" verges on the offensive and the pointlessness of the story is just a tiny example of the pathetic state of modern Italian cinema.

Before seeing a film I look at the credited writer. Nine times out of ten it tells me all I need to know. I didn't read the name of the writer before I sat to see this. Terrible mistake. But it was hot, an air conditioned room, a big TV screen with THX, a new Italian film with Gabriele Ferzetti (L'Avventura)and Luca Lionello, the splendid Judas of Gibson's "Passion of The Christ". Italy is going through a proverbial crisis, very few films get made. One would assume that the few that do are sure shots at the box office (comedies with Christian de Sica for instance) or films of quality. So how come a film of this catastrophic, moronic caliber can be made with a more than respectable cast, a director - Claudio Fragasso - with a sure hand and years of experience falling into this trap. The film is beyond bad because it aspires to something grander. It has the obscene audacity to attempt some social and political relevance. The script is laughable from beginning to end. In spite of the afore mentioned crisis, Italy has some phenomenal writers and top notch directors. What lacks is producers, real producers people with guts and taste and balls. They are all there like mamma's boys waiting for the Ministry to grant them some money. What about a bit of showmanship? Because, let's face it, who's going to pay the consequences of the failure of "Concorso di Colpa"? (translated it means "Concourse of Guilt" very apropos if you ask me)Who? Other, more deserving filmmakers, that's who. Nobody can tell me if this film got distribution, if it does, well that would be another mystery. Not to sound all gloom and doom, there is some light at the end of the Italian tunnel Marco Tullio Giordana's "Once you're born you can't hide anymore" Is a beautiful gem.