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La terrazza (1980)

 -  Drama  -  8 February 1980 (Italy)
7.1
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Ratings: 7.1/10 from 553 users  
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Title: La terrazza (1980)

La terrazza (1980) on IMDb 7.1/10

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Cast

Cast overview, first billed only:
...
Mario
...
Amedeo
...
Enrico D'Orsi (as Jean Louis Trintignant)
...
Luigi
...
Giovanna
Carla Gravina ...
Carla
Ombretta Colli ...
Enza
Galeazzo Benti ...
Galeazzo
Milena Vukotic ...
Emanuela
Stefano Satta Flores ...
Tizzo
...
Sergio
Agenore Incrocci ...
Vittorio (as Age)
Leonardo Benvenuti ...
Un ospite
...
Altro ospite
Lucio Lombardo Radice ...
Himself
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Storyline

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Genres:

Drama

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Language:

Release Date:

8 February 1980 (Italy)  »

Also Known As:

The Terrace  »

Box Office

Gross:

ESP 12,333,656 (Spain)
 »

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)
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Connections

Features Casablanca (1942) See more »

Soundtracks

Concerto N.8 in La Minore
by Antonio Vivaldi
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User Reviews

 
Long and not always on the mark
20 August 2005 | by (Canada) – See all my reviews

Ettore Scola seemed to epitomize Italian cinema in the 70's and early 80's. What great films he did: We All Loved Each Other so much, Ugly Dirty and Bad, A Special Day (for me it's Mastroianni's best), Passion of Love (incredible story of beauty and ugliness), Le Bal, etc. Where directors like Bertolucci and Bellochio seemed to lose their way in political argument, Scola stayed on his feet and created wonderful satires of bourgeois complacency.

The Terrace is too long--almost three hours--and too loaded with characters to have much force. The political and social problems described here seem obscure and distant from us in time. The speech Mario gives to the PCI congress is well done (he's asking for forgiveness for his adultery with Giovanna) but hasn't much dramatic effect. Much better are the little touches: the elderly waiter dragging the wagon over the tile floor, making an awful screeching sound as Luigi and Carla dine; the workmen who reduce the size of Sergio's office in ten seconds flat--wonderful effect; Sergio trying to talk to the head of RAI in the latter's office, with the huge Grecian bust between them, very funny.

I should point out that far too much of the comedy misses its mark and falls flat: I don't know what Scola was trying to do with Enrico's writer's block and the finger in the pencil sharpener. Marie Trintignant appears as eye candy throughout the film and serves no purpose in the story. If you choose to watch this, get ready to hit the fast forward button.


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