Dopo le elezioni del 1994 Tunin, di Rifondazione Comunista e con l'hobby delle auto d'epoca, si incontra o meglio si scontra durante una manifestazione con la leghista Rossella e nonostante... See full summary »
Dopo le elezioni del 1994 Tunin, di Rifondazione Comunista e con l'hobby delle auto d'epoca, si incontra o meglio si scontra durante una manifestazione con la leghista Rossella e nonostante le divergenze politiche ne viene fortemente attratto. Rossella scommette con la sua amica Anitina che riuscirà a farlo diventare leghista, a onore del "Senatur". Poi Tunin e il suo amico Zvanin vengono messi in cassa integrazione. Il loro tempo libero aumenta così a dismisura e con questo l'ossessione di Tunin per Rossella. Quindi le mogli di Tunin e Zvanin decidono di aprire un ristorante per tirare avanti... Written by
Baldinotto da Pistoia
Politics and sex seem to be the right combination in many of Lina Wertmuller's films. This one, came via cable, as we do not believe it has been commercially shown in this country.
The story begins as two groups clash after an Italian election. In the melee, Tunin, gets closer to a young woman, Rosella, who provokes in him a tremendous arousal, something he had not experienced in quite a long time with his middle aged wife, Palmina. It is an attraction that will get him in a lot of trouble, but Tunin does not imagine for a moment the way politics will interfere in their relationship.
Tunin and his best friend, Zvanin, are mechanics that find themselves laid off because of a reduction of personnel. Since they now have so much time in their hands, they find nothing better than going by the beauty salon where Rosella, and her partner, Anitina work. Zvanin pairs off with Anitina, and Tunin finally conquers Rosella. Unfortunately, their communist ideas interfere with their lovemaking, and the men finally realize they are too old to change.
This is a comedy about the clash of political ideas, which have always been at the center of Ms. Wertmuller's films. This is not exactly one of her best projects, although there are some funny moments. Tullio Solenghi is not exactly Giancarlo Giannini, but the director gets the best of him in those closeups she loves to use in most of her work.
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