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Allonsanfan (1974)
"Allonsanfàn" (original title)

 -  Drama | History  -  1 March 1985 (USA)
7.2
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Ratings: 7.2/10 from 544 users  
Reviews: 8 user | 5 critic

A anarchist leader (Fulvio) wishes to retire, as he is old and tired. He tries to hide himself, but his friends find him and insist he carries on helping them.

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Cast

Cast overview, first billed only:
...
Fulvio Imbriani
...
Charlotte
...
Francesca
Laura Betti ...
Esther
Claudio Cassinelli ...
Lionello
Benjamin Lev ...
Vanni 'Peste'
Renato De Carmine ...
Costantino
Stanko Molnar ...
Allonsanfan
Luisa De Santis ...
Fiorella
Biagio Pelligra ...
priest
Michael Berger ...
Remigiano
Raul Cabrera
Alderice Casali ...
Concetta
Roberto Frau
Cirylle Spiga
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Storyline

A anarchist leader (Fulvio) wishes to retire, as he is old and tired. He tries to hide himself, but his friends find him and insist he carries on helping them. Written by Michel Rudoy <mdrc@hp9000a1.uam.mx>

Plot Summary | Add Synopsis

Genres:

Drama | History

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Details

Country:

Language:

Release Date:

1 March 1985 (USA)  »

Also Known As:

Allonsanfan  »

Filming Locations:


Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Title derived from the first two words of the French national anthem. See more »

Connections

Edited into Marcello, una vita dolce (2006) See more »

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User Reviews

 
Allonsanfan
31 October 2011 | by (Cairo, Egypt) – See all my reviews

It is my first encounter with Taviani brothers' work, my instant gut-feeling is that this surrealistic political-drama about a traitor's ill-fated fallout is perhaps blemished by the incompatibility of our generation, I reluctantly pigeonhole it to those films inevitably go astray from their glorious road along the unstoppable torrent of time!

Marcello Mastroianni this time around employs a substantially anti-hero persona opponent to his more audience-friendly role as the marquee Italian dream-lover. An abnormally bitter repugnance exudes from his character brims with all the screen time and I can sense a tint of misogyny levitating in the air with an inexplicably compelling thespian vibe. The lesser characters are all one-dimensional notwithstanding, a feral Lea Massari (from THE ADVENTURE) still could draw some attention for her very underdeveloped role.

All the sectors are somehow quirky enough to create certain discontinuity in the narrative, which could be a deliberate novelty at that time, but fails to leave sympathetic impression throughout, plus without the adequate stewing time, I might wonder it might be too hasty for audience to ruminate or even reflect the actual happening in the film, especially for a foreigner.


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