| Ugo Tognazzi | ... | Primo Spaggiari | |
| Anouk Aimée | ... | Barbara Spaggiari (as Anouk Aimee) | |
| Laura Morante | ... | Laura | |
| Victor Cavallo | ... | Adelfo | |
| Olimpia Carlisi | ... | Chiromant | |
| Ricky Tognazzi | ... | Giovanni Spaggiari (as Riccardo Tognazzi) | |
| Gianni Migliavacca | |||
| Margherita Chiari | ... | Maid | |
| Ennio Ferrari | |||
| Gaetano Ferrari | ... | Guard | |
| Franco Trevisi | |||
| Pietro Longari Ponzoni | |||
| Vittorio Caprioli | ... | Marshal | |
| Renato Salvatori | ... | Colonel | |
| rest of cast listed alphabetically: | |||
| Don Backy | ... | Crossing Keeper (uncredited) | |
| Giuseppe Calzolari | ... | (uncredited) | |
| Cosimo Cinieri | ... | Magistrate (uncredited) | |
| Antonio Trevisi | ... | Bank manager (uncredited) | |
Directed by | |||
| Bernardo Bertolucci | |||
Writing credits(in alphabetical order) | ||
| Bernardo Bertolucci | ||
Produced by | |||
| Giovanni Bertolucci | .... | producer | |
Original Music by | |||
| Ennio Morricone | |||
Cinematography by | |||
| Carlo Di Palma | |||
Film Editing by | |||
| Gabriella Cristiani | |||
Costume Design by | |||
| Lina Nerli Taviani | |||
Makeup Department | |||
| Giuseppe Banchelli | .... | makeup artist | |
| Iole Cecchini | .... | hair stylist | |
| Ludovico Greco | .... | assistant makeup artist | |
Production Management | |||
| Mario Di Biase | .... | general organizator | |
| Augusto Marabelli | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Antonio Gabrielli | .... | assistant director | |
| Fiorella Infascelli | .... | second assistant director | |
Art Department | |||
| Amedeo Brogli | .... | assistant production designer | |
| Beatrice Caracciolo | .... | assistant production designer | |
Sound Department | |||
| Fausto Ancillai | .... | sound mixer | |
| Mario Dallimonti | .... | sound | |
| Decio Trani | .... | boom operator | |
Camera and Electrical Department | |||
| Umberto Dessena | .... | grip | |
| Massimo Di Venanzo | .... | camera operator | |
| Angelo Novi | .... | still photographer | |
| Michele Picciaredda | .... | camera operator | |
| Marco Profeta | .... | assistant camera | |
| Sandro Rubbo | .... | assistant camera (as Sandro Rubeo) | |
Editorial Department | |||
| Fiorella Giovanelli | .... | assistant assistant editor | |
| Ernesto Novelli | .... | colorist | |
| Francesco Reitano | .... | assistant editor | |
| Ernesto Triunveri | .... | assistant editor | |
Music Department | |||
| Ennio Morricone | .... | conductor | |
Other crew | |||
| Maria Luisa Bavastro | .... | consultant | |
| Lilletta Bertolucci | .... | press agent | |
| Francesca De Guida Canori | .... | press agent: Ugo Tognazzi | |
| Vittorio Fornasiero | .... | production secretary | |
| Maurizio Mattei | .... | production secretary | |
| Silvana Olasio | .... | accountant | |
| Claudio Sabatilli | .... | accountant | |
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| My Brother Is an Only Child | The Best of Youth | 1900 | The Tree of Wooden Clogs | I'm Not Scared |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb Italy section |
I see this film in straight connection with La Strategia del ragno also directed by Bertolucci 11 years before this one. Only with characters inversion, meaning that in this one the father goes along find out things about his son, hidden things, beyond what he looked like. In the 1970 film it is the son who finds out the life of his late father, his hidden secrets. Still I found the older movie much more appealing, in terms of the plot itself but also in terms of the direction also. It is obvious that a good plot estimulates direction but still this one could have been better. It has from times to times the quality seal from Bertolucci, but in general it's not as good as others. The end is very delayed, the film could have less 20 minutes that it would be better to watch. Some beautiful images along the time, as usual in Bertolucci, but than again somewhat meaningless as they are not many times in the context of the story.
Though the film touches some important issues, such as terrorism in Italy's 1980'. Also interesting in exploring how a man can 'use the blood' of his own son just to get himself out of a difficult financial position. Not much more than this. It's worth watching if you like Bertolucci or if you have special interest in italian cinema. But don't judge the director just on this one. It is unfair, specially if we think that his second film after this one was The Last Emperor...