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Liza (1972 film)

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Last Updated: 29 November 2020

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Liza (1972 film)

Box office$1.76 million
CinematographyMario Vulpiani
Directed byMarco Ferreri
Edited byGiuliana Trippa
Music byPhilippe Sarde
Produced byRalph Baum Raymond Danon Alfred Levy
Release date3 May 1972 ( 1972-05-03 )
Running time100 minutes
StarringCatherine Deneuve Marcello Mastroianni
Written byEnnio Flaiano Jean-Claude Carriere Marco Ferreri

According to Roger Ebert, Catharine Deneuve, after attending the screening of Marco Ferreri's notorious darkly comic gross-out La Grande Bouffe, refused to talk to her then lover and film star Marcello Mastroianni for week. Hard to believe that the day time hooker of Luis Bunuel's Belle du Jour was so susceptible to offence, especially given that Deneuve had previously starred in La Cagna film in which Ferreri has her portray Liza, woman who both literally and figuratively takes place of Mastroiannis characters dog; and would subsequently star with Mastroianni and rest of principal La Grande Bouffe cast in Ferreris serves as quasi-sequel to Ferreri's excellent Dillinger Is Dead, picking up where that film leave off, with man escaping heteronormative capitalist existence to live solitary life enjoying ocean. While the ending of Dillinger Is Dead can be seen as sexist straight male fantasy, I don't think that's case and I think Liza proves that escape to boat at the end of Dillinger Is Dead is not a happy ending for its main character. La Cagna is about a man named Giorgio living on a deserted island with his beloved pup when a beautiful woman arrives and, after killing the dog, takes its place. In all like enclose sociological experiment, real intrigue lies just beyond vacant island-condition of behavior is just as crucial as behavior itself. The question is, then, is island, its causal sequence of obedience, and inherent fixtures of power / domestication, social 'negative' or psychoanalytic social 'origin? ' There are loads of issues embed in inclination towards either, but the former seems to be Ferreri's impulse; however, end acts as hasty equivocation. I suppose its possible that I'm missing some deeper meaning, but whatever message of this is has evaded me. On surface premise seems interesting, or at least original, but it was never expanded upon or driven home. It seems like Giorgio's family served little purpose to plot, and only acted to lessen mystery as to what he was doing on the island. And the transition of Liza wasn't handled very well, so that it just felt flat when the switch was flip. There was certainly chemistry between the two leads, and there were some interesting shots, but basically Marco Ferreri trying to sharpen his direction skills aided by obvious chemistry between Deneuve and Mastroianni and nothing burger plot other than hey let's try to make a film based on the word Cagna and stretch its literary and metaphoric meanings. Both actors, skilled in most genres from comedy to erotica, decide to expand their filmography by starring in strange films as a duo in individualised roles. I'd say peak Ferreri was when he did La Grande Bouffe and Mastroianni out-weirded Deneuve that she never talked to him for week. But here. This is a lot tamer, but still Ferreri unnerving.

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* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

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