Roberto has a new job as the teacher at a nursery school. The first child he meets is Gianluigi, who's mute. Roberto is spirited, bringing a TV into class, then a donkey. He takes children ... See full summary »
Catherine and Marcello are secluded in their house, living under the candlelight. Unable to accept the injustice behind the loss of their nine-month-old baby, they face a slow but definite self-destruction.
Director Mario Fererri reenacts the events leading up to the Battle of the Little Big Horn in this wild, highly stylized surreal farce set in and around a gaping excavation for a huge urban renewal project in 1974 Paris. The anachronistic backdrop highlights the incongruity of the broad comic characterizations of real life figures George Armstrong Custer, Sitting Bull, and Buffalo Bill. Written by
[Watching the general comb his hair while eating potato chips]
You have magnificent hair, General.
George A. Custer:
Yes, it impresses the Indians.
[Holding up his comb]
George A. Custer:
Now you understand why this is important.
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Leave it to Marco Ferreri to decide to make this film in the pit that was created out of what had been Les Halles food market in the center of Paris. This was the site where the Pompidou Center was erected and now stands proudly, as though it was always had been there for all these years.
The director deals with a page of shame of American history as George Custer prepared, and later battled, the Indians in the battle of Little Big Horn that was his last stand as a military man. Where Marco Ferreri succeeds is in mixing the plot of the film with every day life of Paris in which most people didn't even bat an eye watching the invading Americans.
Mr. Ferreri was lucky in getting some familiar faces to play in his film. Thus, Marcello Mastroianni is seen as General Custer. Catherine Deneuve played the object of the general's affections. Ugo Tognazzi is great as Mitch. Michel Piccoli is bigger than life in his take of Buffalo Bill. Philippe Noiret, another excellent actor, plays Gen. Terry, and Serge Reggiani is seen as the mad Indian who runs in and out of most scenes wearing a loin cloth to cover a little bit of his nakedness.
The idea of staging this film in a construction site works well with the action in the movie thanks to a revolutionary idea by Marco Ferreri.
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