6.4/10
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7 user 17 critic

The Voice of the Moon (1990)

La voce della luna (original title)
The amusing and entertaining adventures of a recently released mental patient and his band of misfits, discover conspiracies to concur while looking for love.

Director:

Federico Fellini

Writers:

Ermanno Cavazzoni (novel), Ermanno Cavazzoni (screenplay) | 2 more credits »
Reviews
5 wins & 9 nominations. See more awards »

Photos

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Cast

Cast overview, first billed only:
Roberto Benigni ... Ivo Salvini
Paolo Villaggio ... Gonnella
Nadia Ottaviani Nadia Ottaviani ... Aldina
Marisa Tomasi Marisa Tomasi ... Marisa
Angelo Orlando ... Nestore
Sim ... Flute player
Syusy Blady Syusy Blady ... Susy
Dario Ghirardi Dario Ghirardi ... Journalist
Dominique Chevalier Dominique Chevalier ... 1st Micheluzzi Brother
Nigel Harris ... 2nd Micheluzzi Brother
Vito Vito ... 3rd Micheluzzi Brother
Daniela Airoldi
Stefano Antonucci Stefano Antonucci
Ferruccio Brembilla Ferruccio Brembilla
Stefano Cedrati
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Storyline

The amusing and entertaining adventures of a recently released mental patient and his band of misfits, discover conspiracies to concur while looking for love.

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

Italy | France

Language:

Italian | Japanese

Release Date:

1 February 1990 (Italy) See more »

Also Known As:

A Voz da Lua See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Roberto Benigni plays a character who recalls how his grandmother referred to him as "Pinocchio"; in 2002, Benigni directed and starred as the title character in a film based on the book, Pinocchio (2002). See more »

Connections

Featured in Towards the Moon with Fellini (2006) See more »

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User Reviews

 
Madness and Fellini
18 October 2017 | by gavin6942See all my reviews

The amusing and entertaining adventures of a recently released mental patient (Roberto Benigni) and his band of misfits, discover conspiracies to concur while looking for love.

Acclaimed director Federico Fellini wrote a short treatment for this film in two weeks with his long-time scribe Tullio Pinelli as early as summer 1988. Returning to themes they first explored in "La strada" (1954), the duo crafted a parable on the whisperings of the soul that only madmen and vagabonds are capable of hearing.

The film screened out of competition at the 1990 Cannes Film Festival, where it was panned, misunderstood and/or ignored by the majority of North American critics. One critic boasted, "Absolutely ravishing. I've never been so bored in my life". Ultimately, Fellini's last film became his first never to find a North American distributor. At least until 2017 (more on that shortly).

One might think this is the sort of film that would grow in reputation over time. Those who saw it in 1990 likely did not know this was the final Fellini, and that alone should give it a special place in our hearts. Yet, critic Michael Scott pulls no punches when he calls the film "an unwanted, undercooked, post-meal main course, just as you are ready to slip into your pyjamas." He also says it is "the best example yet of the train wreck that can occur when you give a visionary unquestioned creative control but take away his glasses; it looks stunning but is nigh on incomprehensible."

He does concede however that the "visuals ... rank up there with the most impressive of Fellini's entire body of work." Herein lies what, I think, makes the film worth a second (or third) look. The color scheme is striking, especially on the new (2017) Arrow Films Blu-ray with a new scan. The blend of fantasy, madness and reality is cleverly blended, with one scene of lovemaking while a rumbling train passes quite memorable indeed.

The Arrow Blu-ray looks great, and does bring this Fellini to America for the first time ever. The special features are slim, but it does include an hour-long documentary on the film, which is really indispensable and perhaps would help change Mr. Scott's opinion? Certainly it puts the film in its proper place in the world of Fellini.


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