Experimenting with the sex-film genre once again, Brass tried something a little more American. He wrote a story about wealthy, fashionable people, each of whose wardrobes costs more than my annual gross salary, who live in high-rise flats whose bathrooms are larger than my entire apartment, and who fritter away their time attending mind-numbingly posh parties. Brass would never do this againwell, at least not so blatantly. Oh God is this film silly. Paolo uses jealousy to increase his marriages excitement, wanting to hear Diana tell him of her flirtations and her fantasies about making it with other guys. But one day he discovers that one of Dianas turn-on tales was actually true, and he splits. In a rampage, Diana lures every guy she can. But after a mere few days the couple are reconciled, as Paolo recognizes the error of his ways, and accepts his wifes infidelity as a legitimate and valuable part of their marriage.
A friend in Milano, who never understood why I liked Tinto Brass, after 12 years finally caved in to my unending pleas and offered to send me Brass videos. Would you like a copy of Così fan tutte? Of course I want a copy of Così fan tutte!!!!!! I screamed back. The out-of-print LEspresso VHS edition arrived in the mail a few days later. At that time I had never seen any of Brasss post-1983 works. I had heard that his later films were not up to the level of his earlier ones. As a matter of fact, I had heard they were pretty gawd-awful. Well, hey, people said the same thing about Pasolinis later works, and I knew how wrong they were. So I plopped the tape into my machineand my heart sank. My God, I thought, the critics were right! But eventually I began to see things. I saw that, despite its thousand and one faults, its a milestone, for in one long scene it combines three aspects of junk culturenamely, discos, rap music, and Ecstasy ravesinto a magnificent work of art. I was hypnotized, and watched the scene dozens of times, undoubtedly to the consternation of my neighbors who could surely hear the loud music through my walls. Even more effectively than Fellini, Brass captures the desperate loneliness that underlies such bursts of restless energy. And a few minutes after this scene, Brass has one of his funniest cameos. Then, as a coup de grâce, my buddy followed this up a week or so later with Cine Video Corporations VHS release of Paprika. My heart sank againand even further. I guess he was trying to be nice while still twisting the knife. Oddly, Ive come to sort of like both these movies, though they aint Tintos best, to be sure.
SECOND THOUGHTS: After writing the above, I had the opportunity to see the previews for Paprika and Così fan tutte, in which Tinto Brass himself appears on camera. Okay, now I get it. These films were not failures in any sense. They were exactly what he wanted to make. He wanted to make light-hearted, easy-going fluff, and he wanted Così fan tutte to be a bit preachy. And now that Ive seen him plugging these movies, I can see how much fun he had making them, and how much affection he has for them. And so now Ive grown remarkably fond of these movies too.
NOTE: Watch for the plug for Cipriani olive oil.
WARNING ABOUT THE INTERNATIONAL VERSIONS: The Italian version, much to my initial surprise, appears to be hardcore, though a careful second viewing reveals that it isnt at all; and we see that dear old Tinto is a master at faking things so perfectly that he fools nearly everyone. But the fakery was enough to cause considerable worry. In response, the international distributor decided to anticipate the various censor boards of the world and began to hack away mercilessly. Thus the international releases, invariably dubbed into English, are cut to ribbons. Interestingly, Brass had dubbed his own voice before the cutters got to work. Now, if you know where the uncut master English dialogue tapes are hiding, please write to me. We MUST rescue those tapes!!!!
FOR WHAT ITS WORTH: This is the movie in which Brass confessed to the entire world his obsession with the feminine backside. The focus is so absurdly obsessive that it quickly becomes hilarious.
SILVANO IPPOLITI. This was the last film that the great cinematographer shot. He died either during the filming or shortly afterwards, and Massimo Di Venanzo, son of the great Gianni Di Venanzo, had to take over.
THE VALUE OF TRADER JOES. I thought the rave song was invented for the movie. So imagine my surprise when, while shopping, I heard it on the music system at a grocery store! That got me to searching for 90 minutes or so on Google and YouTube to discover what it was. It began with a hit called Gonna Make You Sweat (Everybody Dance Now) by C & C (which I had never heard of) that was adapted into Take Control by an Italian group called Digital Sappers (which I had never heard of) and which was then adapted yet again by DJ Liberty (which I had never heard of). How do I get mired in all of this?
|Dutch FilmWorks/Arrow DVD
|Cult Epics DVD
NTSC converted from PAL via the Alchemist PhC which compensates for the difference in frame rates by dissolving each frame into the next
The Region-2 PAL DVD from Italy, with some scrap footage as an extra. This will not play on most US/Canadian equipment.
The Region-2 PAL DVD from the Netherlands and the UK, dubbed into English and cut to pieces. This will not play on most US/Canadian equipment.
The Region-0 NTSC DVD from the US, with the same scrap footage as an extra. (Cult Epics long ago withdrew the censored-and-dubbed version and replaced it with this uncut Italian edition with optional English subtitles.)
|Jean-René Lemoine as the honest novice|
ANICA Associazione Nazionale Industrie Cinematografiche Audiovisive e Multimediali
|Soggetto (original story)||Tinto Brass|
|Sceneggiatura (screenplay)||Tinto Brass, Bernardino Zapponi, Francesco Costa|
|Fotografia (directors of photography)||Silvano Ippoliti, Massimo Di Venanzo|
|Musiche di (music by)||Pino Donaggio|
|Dirette da (directed by)||Natale Massara|
|Scenografia (art direction)||Paolo Biagetti|
|Arredamento (set décor)||Bruno Cesari|
|Ideatore dei costumi (costumes created by)||Jost Jakob|
|Collaborazione al montaggio (assistant editor)||Fiorenza Müller|
|Segretaria di edizione (continuity)||Carla Cipriani|
|Fotografo di scena (still photographer)||Gianfranco Salis|
|Direttore di produzione (production manager)||Vittorio Fornasiero|
|Organizzatore della produzione
|Diretto e montato da
(directed and edited by)
|Aiuto regista (assistant director)||Germano Tarricone|
|Assistente alla regia (asst. to the director)||Maurizio Martinoli|
|Assistente al montaggio (assistant to the editor)||Emanuela Lucidi|
(assistant camera operators)
|Ettore Corso, Andrea Doria|
|Aiuto operatore (assistant camera operator)||Giorgio Freudenstein|
|Fonico (sound)||Roberto Alberghini|
|Microfonista (boom operator)||Marco di Biase|
|Assistente scenografo (assistant art director)||Luigia Battani|
|Costumista (costume designer)||Luigi Bonanno|
(assistant costume designer)
|Parrucchiere (hairdresser)||Jole Cecchini|
|Assistente parrucchiere (assistant hairdresser)||Carla Indoni|
|Truccatore (make-up)||Bruno Vasco Tarallo|
|Assistente truccatore (assistant make-up)||Massimiliano Lucci|
|Coreografa (choreography)||Gabriella Borni|
|Assistente coreografa (assistant choreographer)||Rosa Russo|
|Maestro darmi (stunt coordinator)||Giorgio Ricci|
|Sarto (tailor)||Amedeo Monti|
|Capo elettricista (gaffer)||Sergio Spila|
|Elettricisti (best boys)||Marcello Cardarelli, Franco Gubbiotti, Franco Cardarelli|
|Capo Macchinista (key grip)||Massimo Galiano|
|Macchinisti (grips)||Vittorio Rocchetti, Maruizio Benvenuto|
|Capo Attrezzista (prop master)||Roberto Magagnini|
|Attrezzisti (props)||Walter Gatti, Marco Davoli, Paolo del Grande, Giancarlo Sensidoni, Barnaba Pagliarini|
|Ispettori di produzione (unit managers)||Matteo Rolla, Alessandro Mancini, Vincenzo Guglielmi|
|Segretari di produzione (production secretaries)||Francesca Deodato, Filippo Deodato, Giancarlo Lanzeri, Annamaria Severini, Mauro Babini|
|Amministratore (production accountant)||Giulia Saccucci|
|Cassiere (paymaster)||Stefano Pietropaoli|
|Ufficio stampa (publicity)||Lucherini-Pignatelli|
|English-version dialogue adaptation and supervision||Ted Rusoff|
|Teatri di posa - laboratorio (studio - lab)||Cinecittà|
|Pellicola (raw stock)||Kodak S.p.A.|
|Tecnico del colore (color technician)||Stefano Giovannini|
|Sonorizzazione (recording studio)||Fonoroma Fillm Recording|
|English-version sound technician||Sandro Pallottini|
|English-version sound mixer||Romano Checcacci|
|Fonico del doppiaggio (dubbing recorder)||Marco Lippi|
|Assistente al doppiaggio (assistant dubber)||Corrado Russo|
|Mixage (mixer)||Alberto Doni|
|Effetti sonori (sound effects)||Union Cineaudio, Fernando Caso, Alvaro Gramigna|
|Titoli e truke (titles and opticals)||Studio 4|
|Sartoria (wardrobe)||G.P. 11, Silvestri Wilma|
|Gioielli (jewelry)||L.A.B.A. - Roma|
|Parrucche (wigs)||Rocchetti - Carboni|
|Tappezzeria (upholstery)||Artigiana Arredatori e Tappezzieri|
|Arredamento (set décor)||G.R.P., Dedalo, Rancati|
|Mezzi tecnici (technical equipment)||Arco Due, Petracca|
|Trasporti (transport)||Romana Trasporti Cinematografici|
|Biancheria intima (underwear)||Le Foglie|
|Edizioni musicali e registrazioni
|Bixio C.A. S.r.l. / BMG Ariola S.p.A.|
|Mixage delle musiche (music mixer)||Giorgio Agazzi|
|Musiche di repertorio (musical excerpts)||CAMMINANDO SOTTO LA PIOGGIA|
di P. Frustaci - E. Macario / C. Rizzo
di A. P. Piazzolla
edizioni Curci / Paganmusic
di P. Steffan - P. Donaggio
cantata dai Trash Company
edizioni Bixio C.A. / BMG Ariola
COSÌ FAN TUTTE
di Wolfgang Amadeus Mozart [uncredited]
EVERYBODY F CK NOW
by DJ Liberty (R Clivilles and F Williams)
(adapted from TAKE CONTROL
by Digital Sappers (Diego Abaribi, Mauro Marcolin, and Valerio Gaffurini)
which in turn was adapted from C & C Music Factorys GONNA MAKE YOU SWEAT) [uncredited]
|Si ringraziano (we thank)||Intesa & Intesa s.r.l.|
Francesco Elli eC. s.p.a.
Fontana Arte s.p.a.
O Luce s.p.a.
KMP Italia s.p.a.
Un Jaron en Plus
Annibale Colombo s.r.l.
Mobili Berloni s.p.a.
Apple Computer s.p.a.
Sisal Tappeti Piacenza
Poltrona Frau s.r.l.
La Porcellana Bianca s.p.a.
Devone Devone English Supplies
|Prodotto da (produced by)||Giovanni Bertolucci per la San Francisco Film S.r.l., Achille Manzotti per la Faso Film S.r.l.|
|PERSONAGGI E INTERPRETI|
|Sig. Silvio||Renzo Rinaldi|
|???||Jean René le Moine|
|???||Rossana di Pierro|
|Passenger in bus||Osiride Pevarello|
|???||Rosa Maria Pezzullo|
|Alphonse Donatienne||Franco Branciaroli|
|Comendator Scarfatti||Tinto Brass [uncredited]|
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