Word: ferreri
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DIED. MARCO FERRERI, 68, satirical Italian director who explored the human appetite in all its savage absurdity; of a heart attack; in Paris. Morality runs amuck in Ferreri's erotic works. In The Conjugal Bed (1963), a groom is consumed by his wife's lust; in The Grande Bouffe (1973), four middle-aged men gorge themselves to death...
Maria Braun), and in the past few years has worked with Jean-Luc Godard (Passion), Ettore Scola (La Nuit de Varennes) and Marco Ferreri (The Story ofPiera). By now Schygulla has perfected the bold gesture deftly applied. The grocery-door shutters snap down, or a window shade snaps up, and a thrill sizzles through her like lightning. In the interrogation room she gets a look at her cuckolded husband and quickly puts her fingers to her eyes, gouging out his presence. Her mouth arcs, her tongue flicks, her eyes blaze, her face is illuminated by the reckless glow...
Italian Actor Marcello Mastroianni happily gorged himself in La Grande Bouffe, Italian Director Marco Ferreri's savage comedy about four men who eat themselves to death. A glutton for punishment, Mastroianni has been lured back for another Ferreri satire. Called Bye Bye Monkey!, it is about an aging, asthmatic gardener who wanders down to a dump in a nameless large city and finds the remains of a movie monster named Macho Kong (no kin to King Kong). Hearing a whimpering sound within the monster's body, Marcello the gardener pulls out a baby chimpanzee, whom he treats like...
...Grande Bouffe, like Last Tango in Paris, is a vision of life burning itself out, but in The Grande Bouffe there is no romantic illusion, no disguised depravity. Ferreri makes his points in terms of acting instead of camerawork and soundtrack. The performances he elicits are often remarkable--particularly the outstanding performance of Andrea Ferreol as the teacher who joins the group--and they are well emphasized by the simplicity of his direction. But he is a neutral observer, unlike Bertolucci, unable to make the impact of events accumulate. Weakened by pseudo sex and juvenile scenes about car fetishes...
...Ferreri's greatest problem, however, is that he fails to connect the everyday lives of his characters with their actions at the villa. In the opening scenes, he gives a glimpse of each man's life, but the vignettes connect only superfluous details to the body of the film. This is a film about a decision to die, about a decision by four well-to-do-men that bizarre death on the weekend is somehow worth more than a less frantic hedonism continued over a protracted period. The decision to die cannot be divorced from the work and family lives...