La tempesta in un cranio
A timorous scion of a wealthy family is gaslit by his friends in order to prove that his fears of hereditary insanity are hogwash.A timorous scion of a wealthy family is gaslit by his friends in order to prove that his fears of hereditary insanity are hogwash.A timorous scion of a wealthy family is gaslit by his friends in order to prove that his fears of hereditary insanity are hogwash.
Some peculiar innovations also include a photographic-and-telephone-combined contraption (or video conferencing 1920s style) and, more ridiculously, Campogalliani ties a rat to a candle so as to burn a rope. See, the rope was only long enough to get him half way down the tower he's been imprisoned in, so rat moves candle on the rat's way to a piece of bread, setting the rope on fire, which Campogalliani, then, uses to climb down the rest of the tower walls. Clever, I guess, but also insane. As in a dream, too, characters from the outer reality appear in the inner narrative in somewhat different forms, and events don't always seem to follow logically. There's even a dream-within-the-dream. If all this weren't confusing enough, though, there's an exceptionally bewildering finale that undermines whether any of it was a dream at all. Crazy.
All of this is amusing, but it's rather poorly constructed. The film is also framed as a novel, as written by a character within the film, Alfred Ariberti, a friend of Renato De Ortis, and who, it's suggested, is writing the film's dream sequence as a second novel, but this is treated too slightly to be effective. Ditto that Renato is admonished early on for being a reader. The romance is quite weak, too, considering that Campogalliani's love interest here, played by Letizia Quaranta, was also his wife in real life. Overall, it's enjoyably madcap, but also slapdash.
- Oct 7, 2020