No synopsis available.
AIが作品の魅力を深く読み解いています
映画化された原作や関連書籍を読んで、映像との違いや独自の世界観を楽しみましょう。
監督: Luigi Comencini
脚本: Piero De Bernardi / Lucia Drudi Demby / Leonardo Benvenuti
音楽: Fiorenzo Carpi
制作: Angelo Rizzoli
撮影監督: Armando Nannuzzi
制作会社: Rizzoli Film
“Sir John” (Anthony Quayle) is Her Majesty’s consul in Florence. It’s a job that comes with a gorgeous villa in a city of beauty and history that is home to his family. It’s when a tragedy impacts on that family that he must come to terms with his own loss and continue to support his two young sons. “Andrea” (Stefano Colagrande) is the elder of the two and has been taken into his father’s confidence, “Milo” (Simone Giannozzi) is much younger and so is initially left only knowing that their mum is away. These two lads get on like an house on fire, and have some considerable joy winding up their new nanny “Luisa” (Adriana Facchetti) who seems to insist that “Milo” spend as much of his time in bed as he can. Eventually, they manage to drive her to the door, but along the way it becomes clear to us that their father appears to favour his younger son. “Milo” is at an age where he wants to tag along to everything his brother does, and inevitably that causes some trouble for which “Andrea” usually gets the blame - just ask the bus driver or the mischievous “Uncle Wili” (John Sharp). Aware that he is becoming a little distant from “Andrea”, the diplomat attempts to spend more time with him, and it’s now that it we truly appreciate just how much this youngster adores his dad - but does his dad? This is certainly one of Quayle’s more personable performances. Sure, he has the usual imperiousness, but he also exudes a rarely seen softer side as the story evolves. That said, the film belongs, entirely, to the two kids. They bring a wonderfully and engaging naturalness to their personas. It is quite possible that they really are brothers, and work effortlessly together - even when the younger is being a pain and the elder is seeking something more meaningful with his father. Their dialogue, and occasionally some of the direction, reminds us that their is recent grief to be dealt with, but that is very subtly expressed by a triumvirate of characters who are dealing, as best they can, with the hand fate has dealt them - but without always understanding just how this has affected the others. For a change, a film set in this finest of Italian cities doesn’t dwell on the location at all, they could be anywhere, it’s all about these three and though I really, really, did not like the conclusion at all, I really did enjoy the film.
