Il_Paolo

Dear Peach, I am the one who wrote that comment, as you could infer by connecting it to the name posted. I am not a good judge of myself, so if you want a clearer idea, read my reviews on this site. I reiterate, however - if not greatness - the great effectiveness of Kiss's music, which especially between '73 and '76 wrote important pages in American rock (at least Destroyer, anyway, is a masterpiece). Constructively Yours, Il_Paolo

Dear Tyni, I wanted to include Beart, but the duck lips stopped me (let's say that until the early '90s it was okay, albeit a bit doll-like). Huppert, like Carmen Maura on the Spanish side, I would be careful to call her ugly (when she was young). ST, Il_Paolo

Dear Bartle, thank you for your notes. As for the misunderstanding about "finamlente," I remind you that I mean "in the end," referring to the end of Truffaut's career and, unfortunately, also of his life. I'm not fond of Ardant (I find her unpleasant as a person from what I've read), and in my ideal ranking of favorite French actresses, I place the ineffable Deneuve in first position, followed by Irene Jacob, and in third place Edwige Fenech. Obviously, I'm joking; I would actually give the honorary mention to Isabelle Huppert. Ineffably Yours, Il_Paolo

Thank you Aurelio for the interesting observations and for the reference to the excellent "Adventure with a Transvestite". I also come to Jake: my review isn't focused on the idea that Califano is a wasted talent, as I believe he has utilized his talent well. Rather, I think that his being a character has obscured, for the general public and also for the commentators on this page (with a few usual exceptions), the greatness of the lyricist. Few have been able to describe, in my opinion, the abjection of the small and medium city bourgeoisie like Califano, without any concessions, and just as few the disintegration of loves, official or clandestine, even with a transvestite as has been noted. These are still songs today of startling modernity. I believe that, in Italy, only the very early Vasco Rossi (the one up until "Colpa d'Alfredo," to be clear) has approached these themes with such sincerity and - stinging - simplicity. Modernly Yours, Il_Paolo

Jake, what do you mean? I’m interested in your point of view, as you are often kind to me. What’s wrong with the approach to Califano? Sincerely yours, Il_Paolo

@Lavalin, I've never seen "Gardenia...", I guess I’ll have to catch up. Remember that the Califfo is also the author of "What a Bad Deal" and a declared idol of the criminals immortalized by De Cataldo: therefore, the proportion is Califfo/Frank Sinatra - Trastevere/Las Vegas - Roman criminals/Sam Giancana - Music Farm/Oprah Winfrey Show - Moravia/Updike... then you continue if it amuses you! @the others: I don't dismiss negative judgments, but some more analytical reasoning would make me happier. Congratulations Iside, you had a truly modern mother for your times. SV, Il_Paolo

Ah, the sad fate of someone who must prove to be real and not a fake!! @Lavalin: by "finally" I meant "at the end," that is, at the end of poor Truffaut's life. The scene with the children playing with the camera, when I think about it, is an entirely gratuitous frame in a film that talks about something else; I've always seen it as a kind of premonition from the director. Even the title sounds strange from this perspective: "finally Sunday" doesn’t strike you as "at last, the day of God"? @everyone else: thank you for the feedback, especially Omaha has been too kind and generous; I’m sorry - but I say this without controversy, only with a touch of intimate regret - that even when I engage in more elitist cinema than what I usually handle for you, my writings are penalized, not for the content, but for the fact that they are the work of Il_Paolo. It doesn’t seem fair, especially from an hermeneutical point of view. But that’s another story. Interpretively Yours, Il_Paolo.

Thank you Adder and Tiny, along with the other "well-wishers" and/or "critics": Califano as an author deserves to be discussed separately, in a detailed analysis or literary case study; otherwise, the review, already lengthy in itself, would turn into a kind of Califano monograph.

A Hamletian doubt: why so many visits to Califano's review and so few to this one? Yet the author of the reviews is the same, the style is the same, the page on which they are published is the same, the time they were published is almost the same or already from there. Where's the difference? Why Califano yes and Truffaut no?

Dear Unusual, don’t be foolish, and above all don’t say it on sensitive topics if what is read on this page - as I frankly hope - is false.