A young man from north Italy named Amedeo decides to come to Rome.He has a crazy idea in his head to meet the pope.

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3 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Enzo Jannacci ...
Amedeo
...
Aiche
...
Aureliano Diaz
...
Padre Amerin
...
Principe Donati
Alain Cuny ...
Padre gesuita
Daniele Dublino ...
Il cardinale spagnolo
Sigelfrido Rossi
Irena Oberberg ...
Luisa (as Irene Oberberg)
Maalerer Bergier ...
Cardinale tedesco (as Man Lerer Bergier)
Dante Cleri
Luigi Scavran
Giuseppe Ravenna ...
Segretaria
Mario Jannilli ...
Una guardia svizzera
Enzo Mondino ...
Prelate explaining the rules during the Audience
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Storyline

A young man from north Italy named Amedeo decides to come to Rome.He has a crazy idea in his head to meet the pope.

Plot Summary | Add Synopsis

Genres:

Drama | Mystery

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Details

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Language:

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Release Date:

31 March 1972 (Italy)  »

Also Known As:

Papal Audience  »

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Color:

(Eastmancolor)
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Trivia

David Warner was the original star but a fall from a Rome apartment window which broke both heels caused director Marco Ferreri to replace him. You can still see the limp in Sam Peckinpah's " Straw Dogs" filmed the same year, and Warner's injury is the reason why he was unbilled in that film, as no insurance company would cover him. See more »

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User Reviews

 
A quite serious and enigmatic Ferreri film, before his post-Grande Bouffe period.
6 June 2006 | by (United States) – See all my reviews

This film somehow mixes the red tape nightmares depicted by Kafka with the Catholic church's man made organization and hierarchy in today's corporate world, making vis a vis contact with authorities impossible. Apart from the intrigue, this film has Ferreri directing his most dramatic film since "El Cochecito" (Spain, 1960), where his ability to create emotional conflict intermingles with his more satiric and absurdity touch, A facet that's is very interesting to explore, given that his output post-Grade Bouffe is his body of work that most Ferrei enthusiasts are familiar with. I would argue that this film, along with "Chiedo Asilo" (Italy, 1979) are films that explore Utopian gestures borne of the everyday Utopian man, as it faces the brick wall of bureaucracy and normality and convention. Walking the fine line cinema as "theater of the absurd" of the path explored by Buñuel, Raul Ruiz, Arrabal, Jodorowsky and many others, Ferreri champions (the dadaist-inspired) path less traveled in cinema.


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