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  • Gyran21 February 2002
    Aprile (1988)

    I enjoyed this film as much as Caro Diario. I thought it was hilarious, although Nanni Moretti's humour is so deadpan I suspect some people may watch this film without realising that it's supposed to be funny. Also, as someone who is interested in Italian politics but finds it confusing, I found the political parts quite interesting. Still, the film is not really about Italian politics, it's about Nanni Moretti.
  • jotix10019 March 2010
    Warning: Spoilers
    Nanni Moretti is seen watching television with his mother. They are watching a debate in which the candidates on the upcoming presidential election. It is clear Silvio Berlusconi, a man Mr. Moretti dislikes, is going to be the winner. As he explored in his more interesting "Il Caimano", there was no love lost between the director and Mr. Berlusconi.

    "Aprile" is a film that tries to cover a lot of territory. It is, basically, Nanni's own observations about his profession, which at the moment we come to the story seems to be facing an artistic crisis, a blockage, if you have it. The director, who loves to gather newspaper articles that he might perhaps use later on in a film, wants to do a musical comedy film. For that, he interviews Silvio Orlandi, an actor not known for his singing, or dancing abilities, for the leading role. When the shooting begins, Mr. Moretti feels he is not ready to go ahead and dismissed everyone.

    This film also takes a look at the arrival of his son. First, his wife, Agatha, announces the impending arrival of the baby. Nanni and Agatha are seen going over possible names for the child. Since they know it will be a son, they decide to name him Pietro. The delivery is a trial for Nanni, who is a nervous wreck in the hospital. The best thing is that Pietro arrives after an extreme difficult delivery. The boy is a cuddly infant that is last seen with his father among the beloved newspaper cuttings.

    Nanni Moretti is an acquired taste. He is not for everybody, but once that is accepted, he gets our attention. His neurotic trances reminds us of another director, Woody Allen, not that they are alike, but there is a certain similarity in the way they spend their nervous energy. As far as this film is concerned, it's all about Nanni Moretti and don't you forget it!
  • This film is so beautiful in so many ways. It is simple without being sparse. It tugs on the heart strings - but it has none of that Oprah vomit. Sit back and enjoy a fun and hilarious film of Moretti's move into fatherhood. Love him for the bumbling klutz he is. Want to steal his baby.
  • Italian director Nanni Moretti returns with another film with his distinct style and humor. Semi-fiction, semi-documentary, "Aprile" describe the thoughts of the director on politics, movies, his newly-born son. Although he uses the same materials as in his previous excellent film (Caro Diario), the result is not as fresh. The scenes about the Italian elections are quite weak, especially for a non-Italian. At least, it's good to see Nanni in such a good mood as a dad.
  • Forbes50011 March 2006
    Whether mine or the movie's I'm not sure. In any case, when I saw this movie in Buenos Aires on its theatrical release, I was kind of disappointed. I'd seen _Caro Diario_ just a little earlier and thought that _Aprile_ lacked the freshness of the earlier movie. Plus, I found the stuff about Berlusconi and the elections kind of boring.

    But after having seen most of Moretti's other movies, I took another look at _Aprile_ and realized that it's a wise and moving--if occasionally annoying--piece of work, after all. Certainly no less an achievement than _Caro Diario_ or _The Son's Room_. And if, like me, you've seen other Moretti movies, you realize that things that might seem incoherent on first viewing, such as musicals about dancing pastry chefs, are in fact long-time obsessions.

    In his movies, Moretti's character is always surrounded by people: fellow leftists, old friends, family, parishioners, patients, and so on. But despite all these social ties, there's also a basic solitude that Moretti explores in his movies. I think that's why I like them.

    Oh, and one more thing: he always makes Italy look gorgeous.
  • hou-315 August 2018
    Written by, directed by and starring ... i wouldn't mind that, but he's in every single scene, and that really starts to jar after a while. He's an agreeable sort of chap, talented, liberal, charming etc, but he could let one or two other people get an occasional look in.
  • You know when you're on the bus and someone decides to tell you their life-story, and you sit there with a pathetic smile on your face when all you really want to do is slap the fool and walk off? Well I had a similar sensation while watching this film. Okay, I did actually choose to go and see Aprile, and I knew about Nanni Moretti's taste for making himself the one and only star from Caro Diario, but after about half an hour of this latest installment from his memoirs I wanted to give Moretti the madre of all slaps. Caro Diario was funny, unusual, and at least a couple of other characters managed to get a word in edgeways. In Aprile, however, Moretti has exclusive rights to the dialogue, so that all you hear for an hour and a half is a high-pitched whine going on about how his politics are best, or what quirky piece of popular culture is tickling his fancy at the moment. He also finds time to slag off films that he doesn't like, something I thought was reserved for losers like me. Surely being in a position like his you'd think he'd try and make a point about cinema a little more intelligently than this. By making a proper film perhaps, one with some ideas and a decent structure, or maybe one that isn't completely dominated by his annoying voice. And when he started fawning over his newborn baby, I just wanted to go and be in the company of someone normal, preferably not a self-obsessed film director with a strange penchant for tacky music. The next time someone you don't know tries to tell you their life-story, give them a slap from me. Every blow will be a small victory in the fight against Morettiism.
  • I anticipated this movie for so long, because of that awesome dancing chef. Then I watch it and he's introduced at the start, then is not seen for the rest of the movie until the very end. And only for one measly minute. And even then, it was worth it. Anyone who wants to see an absolute legend, hire this movie out, fast-forward the first hour and a half, then sit back and enjoy the dancing chef.

    They should make a whole movie on him, like they fictionally do at the end of APRILE.

    Two words- Dancing Chef!
  • ...however I am not one of them. Caro Diario at least was watchable for two thirds of the time, but the boring and self-centred third section of that movie gave us a taste of what was to come in this extraordinarily self-indulgent mess. Moretti says he feels a need to make this movie, but doesn't want to, whereas the viewer feels that he should stick with it, but really doesn't want to either. A film about Italian politics and elections could be fascinating, but this is not that film. At one point, Moretti and his friends are standing outside the Communist Party headquarters, discussing the interviews they are preparing to conduct with Party leaders inside, but it's characteristic of this film that we never get to see anything of them. Interposed with Moretti's political ravings are the events leading up to the birth of his son, and subsequent home movie shots of him with the baby and later the infant Pietro (the film drags us through several years and more than one election period). We keep expecting to see some definitive sequence or cogent argument, but they never come. I for one doubt that I could have the patience to ever sit through a Nanni Moretti movie again. He succeeds in making an hour and twenty minutes seem like an eternity.
  • Bore, bore, bore... We've seen it all elsewhere. Nothing was funny, nothing was new. The only 5 minutes worth watching were those showing an overcrowded rusty ship, heavy with Albanian immigrants arriving to Venice. I wish this subject had been developed further, but it wasn't. Instead we have a silly film director who does not know what he wants until he has a son and appreciates the joy of life. How true, but how banal, who cares, we all know it...
  • First of all I must admit I like all things Italian. Consequently, I laughed a lot, was moved, and obviously felt identified with the protagonist, director, factotum Moretti. But overall I felt this film was a political disappointment. If he were truly a political man, he could NEVER turn into musicals! Period.

    Such a cleansed, ideologically perverse genre is incompatible with a) political conscience b) brains.

    OK, we don't always want to "save the world" or discuss hefty topics (like French cinema), but I find musicals a distasteful, tacky aesthetic option. That is why I felt so disappointed with Nanni.

    I feel he has the potential to be a great director, a "beacon" of intelligent but not haughty film-making. Like Woody Allen, for instance. (I saw Caro Diario twice on cinemas, in spite of his long "tempos" at "Islands"). Instead, he makes the jokes too long, overacts, is outright stupid when coming up with nonsense while "doing the documentary".

    By the way, I'd LOVE a life in which "shooting a documentary" were "duty". I wonder what "pleasure" would have to be :)! The inclusion of his baby and family may serve his a purpose, but I found it irrelevant at best.

    Overall, I would like him to be the powerful director who could shoot this scene with the ship full of Albanians and piano music, touching without pounding a "message".

    I'm afraid he would rather take the "playful/ escapist" way. It is very common in people dedicated to "the arts" (even the most brilliant, like Woody). But very frustrating to "us, social scientists".

    Whichever our "rank"!

    Conclusion: "If I could", I would say to him THE SAME HE SAYS TO HIS political CANDIDATES when facing Berlusconi on TV: "React! Say something!"

    A musical will never tell any moving human story, nor be beautiful.

    Allen makes a GREAT missile/ pun on them in "Match Point" (when the silly wife loves them, and the couple goes just after he misbehave a bit . He deems them SO irrelevant you only hear it for a second :). THAT is intelligent cinema!