Il_Paolo

I mean... if what is told in the movie were true, it would mean that we are a country out of a joke, or a nightmare, which at these levels is the same thing. Comically Yours, Il_Paolo

@Peter: Well, why not buy this album? It can be the perfect background for dancing nights in the summer heat, a rhythmic accompaniment to sentimental beats. In any case, this review is also a tribute to an ungraspable person like Raffaella Carrà, and generally to everything we can't describe even though it seems simple and familiar, precisely because - deep down - it's alien. Yours, Il_Paolo. @Zelig88: I never joke, you might want to read my personal page. Best regards.

Magical Toni Servillo: I would love to be like him (the facial expression he has in Gomorra is even better). About the film: I haven't seen it, but I can't believe that a man who is voted and appreciated by thousands of Italians, a friend of Kissinger and Arafat, a party mate of the poor Aldo Moro, a minister in Craxi's Government, a Catholic and very religious, good at writing and an excellent joker, a friend of Albertone Sordi... well, I just can't believe that someone like that was on the side of the bad guys! Sorrentino is taking it out on a scapegoat, that's too convenient: after all, if he had been on the side of the bad guys (mafia, powerful interests in general), he would have either become rich or been used and thrown away like a tissue. Instead, at nearly 90 years old, he still has the desire to participate in Senate sessions!

@Contemplation: yes, in fact I put the Gazzetta "as a prop"... in reality I always read "Tuttosport" (it talks more about Juventus), I find the pink paper a traitorous newspaper for how it treated us poorly during the great conspiracy known as Moggiopoli. ST, Il_Paolo

Bonny91, don't despair. A moment of cloudiness happens to everyone - and I repeat, the subject here is difficult to handle - but I promise you that, after a few days of well-deserved break, you will come back stronger than before. My "mission" certainly doesn't end here, and many people support me on this journey (including Contemplazione). ST, Il_Paolo

I see that Lavalin is being unfairly criticized here: in his absence, I attempt to advocate for him, even though, of course, he can defend himself just fine. The fact that he gave this film a 4, I believe, stems from the sociological accuracy with which the life of the migrant is narrated, especially in the "family portrait in an interior" that the director leaves us with: Banfi, reluctantly sharing the room with his annoying and know-it-all grandson, the sister who plays the role of mother while simultaneously mistreating him because she is oppressed by her husband, the husband himself—probably from the South—who blends in by speaking like a perfect Turinese, first wanting to throw poor Banfi out of the house, and then becoming servile when he suspects that Banfi has suddenly become rich. To Velluto, I thank you for noticing the phrase about Levi and Lucentini—you could also have pointed out the reference to "Profondo Rosso"!!!!—but I must also assert that I am masculine to the core and cannot be confused with Lavalin, even though the fact that no one has ever seen me and Lavalin together at the same time (just as no one has ever seen Batman and Bruce Wayne in the same place) may justly allow for the aforementioned conjectures. ST, Il_Paolo

As always, thanks to everyone - including my critics - for visiting this page. A couple of scattered considerations: @Conte: I truly appreciate you as a reviewer, beyond our petty skirmishes, so the love I assign you in your profile is neither provocative nor a sign of flattery (what's the point of virtual flattery anyway? And besides, you don't seem to be a powerful person who could guarantee me any perks, in which case, italic...); @Tiny: this piece had a difficult and laborious gestation, I had been trying for weeks to put something together about Carrà, but nothing, so I can't fault you. However, this - and here I reach @Muito and laRock - confirms the fact that this woman, seemingly familiar, good, popular, hides - more than many others - something unsaid and mysterious, perhaps something suffered and certainly introverted, that clashes with her image as a showbiz woman. As if there were a "Dark Side of the Raffa" and we, modern-day Roger Waters, had to admit that: "There's no Dark Side of The Raffa, really; matter of fact is all Dark." SV, Il_Paolo

I don't know Nose, not that I want to be pretentious, but there's something about her that I don't like.

You too, Bartle... I'm not a fake.