KimDealISsoHOT

well, I was talking about the comments, certain reviews from filmtv are pretty pointless, there are some scathing critiques that will give you chills

Go to filmtv or filmscoop and check the comments; do you think there are more favorable comments for the monster or for the little devil?? Read a dozen movie critics; do you think the monster is more appreciated than the little devil??

But convinced you, what the hell convinced us?? Just do a couple of readings on that movie, for crying out loud, is it really that hard to understand that you’re the minority, not us, but you talk as if it’s the opposite... holy shit...

here's what years and years of shitty movies in Italy mean, years and years of Zelig, then the taste of young people declines, the appreciation for truly genius actors like Matthau. this is a dark era, the kids watching Zelig or Colorado Cafè are convinced they're witnessing comedic genius, these are the results, with Pieraccioni, Ceccherini, Ale, and Franz making a killing at the box office while masterpieces like "Piccolo Diavolo" are appreciated less than absurd nonsense.

To be honest, Johnny Stecchino remains the last good thing made by Benigni for me.

I also liked Johnny Stecchino, but oh my God, it’s trash to the umpteenth power, worthy of Massimo Ceccherini.

Poletti the monster a good movie?? this is too much....I can't even react in front of a sentence like that...

The sentence I wrote in the script with Cheney should be read (damn, do we really have to explain this?? God!) in a different way: Mr. Benigni wanted to seize the praises of the American industry by playing on their chauvinism. After the missteps of the mid-90s (Il mostro, Il figlio della pantera rosa, dreadful with a Benigni short on ideas, and even after this film it became clear that Benigni was an author on the path to sunset, so I’m absolutely right), Mr. Benigni understood that to uplift himself, he needed to go heavy on the farce, and he did it. I merely pointed out this aspect; I didn’t make anything up. Benigni stopped making cinema and started engaging in demagogic apologia, playing with people’s good feelings and his perspective on the Holocaust (rather unworthy), which always has a strong impact in front of authorities and the masses.

Poletti, did we really need to clarify that laughter is subjective?? Benigni has become bourgeois, and this is what I’m talking about—the Hollywood bourgeoisification of Benigni. The Benigni of '77, or the one from 1984 paired with Troisi, or the Benigni of '91 who talked about vulvas with Carrà in prime time, or the Benigni of '94 who, live with Pippo Baudo, ridiculed Forza Italia—that was a great provocateur, not this shitty garbage that smells like Mulino Bianco. But why am I telling you these things?? You are now barricaded in your beliefs, and it’s almost impossible to pry you from them, so just keep on laughing because the houses that have made Aldo, Giovanni, Giacomo, Ale, Franz, and Ficarra billionaires are raking in good money thanks to you.

Finding you in downtown Rome is like finding a joke in this movie that actually makes you laugh...