I was a huge fan of the Italian (and French) multi-part films of the '60s and '70s, almost a genre in itself, which is no longer commercially viable. CONTROSESSO was a title never imported to America, and finally catching up with it I found out why.
Its 3 segments are overlong, and lack the star power of the usual films like this whether they be BOCCACCIO 70, BAMBOLE or later on SEX WITH A SMILE and VIVA ITALIA. Instead we have two of my all-time favorites Ugo Tognazzi and Nino Manfredi given free reign to cavort, latter almost outdoing Jerry Lewis in pulling funny faces at times.
The longest and final segment "Una donna d'affari" is clearly the best. Nino falls haplessly under the spell of a statuesque career woman played by Dolores Wettach (a 1-shot actress who later married Hall of Fame baseball legend Ted Williams!).
Directed by Renato Castellani (an old-school maestro of great skill), this extended vignette is a classic of coitis interruptus, as the imposing woman is constantly seducing Nino, but always called away at the key moment on business, leaving him wholly unsatisfied. The timing and physical comedy of this segment is breathtaking, as are the attractive locations and sets.
By contrast, opening segment "Cocaina di domenica" starring Nino is a complete waste of time, running a very tedious 30-plus minutes long. He and his wife sample cocaine and have slapstick misadventures with their neighbors, in what amounts to a very poorly written and executed 1-act play. Co-star Anna Maria Ferrero is obviously talented, but wasted here.
Middle segment is extremely droll, as Ugo Tognazzi basically walks through his role as "Il professore". A teacher of teenage girls, one would expect a little hanky-panky, but instead director Marco Ferreri and his regular scriptwriter Rafael Azcona concoct a thoroughly dull slice of life in which hardly anything interesting occurs.
Ugo's 1-man show is almost too underplayed (especially sandwiched between Nino's shenanigans here), and the sight of him wearing a do-rag to keep his skull-tight hairdo in place isn't as funny as intended. Segment lacks a punch line, and the recurring motif of two very old ladies caring for Ugo is more obscure than amusing.
Top cameramen, a.d.'s and composers contributed to this movie but to weak results.
Its 3 segments are overlong, and lack the star power of the usual films like this whether they be BOCCACCIO 70, BAMBOLE or later on SEX WITH A SMILE and VIVA ITALIA. Instead we have two of my all-time favorites Ugo Tognazzi and Nino Manfredi given free reign to cavort, latter almost outdoing Jerry Lewis in pulling funny faces at times.
The longest and final segment "Una donna d'affari" is clearly the best. Nino falls haplessly under the spell of a statuesque career woman played by Dolores Wettach (a 1-shot actress who later married Hall of Fame baseball legend Ted Williams!).
Directed by Renato Castellani (an old-school maestro of great skill), this extended vignette is a classic of coitis interruptus, as the imposing woman is constantly seducing Nino, but always called away at the key moment on business, leaving him wholly unsatisfied. The timing and physical comedy of this segment is breathtaking, as are the attractive locations and sets.
By contrast, opening segment "Cocaina di domenica" starring Nino is a complete waste of time, running a very tedious 30-plus minutes long. He and his wife sample cocaine and have slapstick misadventures with their neighbors, in what amounts to a very poorly written and executed 1-act play. Co-star Anna Maria Ferrero is obviously talented, but wasted here.
Middle segment is extremely droll, as Ugo Tognazzi basically walks through his role as "Il professore". A teacher of teenage girls, one would expect a little hanky-panky, but instead director Marco Ferreri and his regular scriptwriter Rafael Azcona concoct a thoroughly dull slice of life in which hardly anything interesting occurs.
Ugo's 1-man show is almost too underplayed (especially sandwiched between Nino's shenanigans here), and the sight of him wearing a do-rag to keep his skull-tight hairdo in place isn't as funny as intended. Segment lacks a punch line, and the recurring motif of two very old ladies caring for Ugo is more obscure than amusing.
Top cameramen, a.d.'s and composers contributed to this movie but to weak results.
