Word: primo
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...Heavyweight Championship of the World. It is as big as Primo Camera was big, as simple and, sometimes, as sad. But invariably special and occasionally alluring. Jack Johnson. Jack Dempsey. Joe Louis. Rocky Marciano. Muhammad Ali. Since caves, men have been awed by the enormous stature accompanying this title and attracted to its myth. Which is why in Las Vegas this week a $50,000 casino credit line is helpful in securing a reservation at Caesars Palace. The beautiful people are descending with their beautiful money, and so are the fight mob, the press corps and the crapshooters, all drawn...
Warm, human Primo provides the one bright spot in this flawed drama Best known to American audiences for his lead role in La Cage Aux Folles unshaven Ugo Tognazzi in baggy corduroys portrays Primo's working class origins as sensual and simple Primo imbodies an earthiness once quieter and more passionate than the mysteria of his aging but staff beautiful wife Barbara (Anoak Ainee...
...marrying this golden girl of leisure Primo has acheived the apex of a working-class dreams he is ripe to be cut down. Bertolucci humbles his but is unable to create a tragic hero out of him, for Primo learns nothing, having known all along that he is slightly ridiculous. From his vantage point at the film's outset--living in an expensive villa modeled after the local medieval fortress--he realizes fully that his social status is out of proportion with hsi real needs. Still, no matter how ludicrous his self-image of the little man thrust into power...
...movie's stronger elements fail too to counteract the weakness of characters and plot The camera with in The Tragedy of a Ridiculous Man emerges as surprisingly playful as Carlo Di Palma's lens follows Primo's bicycle through a car windshield and later lingers on the ham-eating lips of the wealthy. The ideas, it seems, is to play with the viewer's perceptions of really, making him connection through cinematography of his own limited vision But where the plot should continue this theme and reinforce it, confusion wells up instead. Cancelling any possible effectiveness...
...must face his own trivial life. Bertolucci concludes the work on a religious note--but again be fails to integrate, slapping on symbolism like an applique. Barefoot, the son reborn dances with the workers in an episode stylistically unrelated to the rest of the movie. Primo arrives at no revelation, achieves no redemption from his farcical life. He exists calling for more champagne, as bewildered as the audience...