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Rating: This writing is a product of an attempted disinfection from the "Acute Zalonite" that in recent days has struck a bit all over the Italian soil.
I confess: I have never liked Checco. Said by someone who has endured his first three films and appreciated very little of them. In some ways, Cado dalle nubi is saved because it aimed its critical - but not very convincing - gaze towards homosexuality, leghismo, and the cruelty of talent shows. A shame about the overly muddled and sycophantic ending that went on to spoil the party for almost the entire screenplay.
As for the other two, not even worth mentioning: the social denunciation - towards terrorism for example - became a convenient critique and thus no longer lighthearted but banal, while the film turned into a silly one-man show where the characters instinctively became just flesh-and-blood pretexts serving as foils for Zalone's jokes and his cabaret act behind the camera.
Personally, I believe that the recipe of the light and intelligent film - the formula with which the cinematic creations of the Zalone-Nunziante duo are recognized - moves in a completely different direction. That’s why I rediscovered Chiedimi se sono felice, without needing to invoke Paolo Villaggio or Totò, because the trio Aldo Giovanni and Giacomo, with Massimo Venier directing, are more than enough to represent the "nice film for everyone".
True that Tre uomini e una gamba remains their undisputed cult classic, also true that this is more mature, more polished in structure, more cinematic... more beautiful!
The hilarious and melancholic tale of a breakup and a reconciliation, of an obsessive leap between past and present, the palpable transposition of human sentiments with a capital A (Friendship, Love, Spite, Amnesty); comedy and drama, seemingly remote, but which suddenly touch, until they explode into a minute of unexpected anguish, of pure sadness, contrasting with the serene melancholy of night bike rides through Milan, captured in an almost magical play of light and shadow, while the camera pirouettes around the characters' bodies, capturing emotions that transcend the screen and reach the viewer's heart.
Can the tale of a breakup be primarily hilarious? The chaos of comedic references is there to prove it, starting from the "immobilized capital"
of the famous 500 lire in the shopping cart, or Cyrano de Bergerac "who would also be the author".
The Cyrano that serves as a backdrop to the narrative, the comic opera that envelops the protagonists and their lives.
Zalone can wait... perhaps forever...
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