Ninni_Radicini
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IMDb Member
20 years
Reviews
I due maghi del pallone (1970)
Franco Franchi and Ciccio Ingrassia in a football comedy
"I due maghi del pallone" is one of the funniest movies of the great couple of Sicilian actors, with an accomplished narrative structure, well-defined protagonists and characters. It belongs to the second part of Franco and Ciccio's filmography, when by now established actors, they acted in movies in which their comic talent could express itself in a more qualitative way. In the final part of the movie, the sequence of the football match represents one of the most surprising demonstrations of Franco Franchi's uniqueness.
Among the Italian comedies focused on Football (Soccer), "I due maghi del pallone" can be rated among the most successful along with "L'allenatore nel pallone" (1984), which has lead actor Lino Banfi, and "Il presidente del Borgorosso Football Club", with Alberto Sordi, which arrived in Italian cinemas the same year (1970) as the film with Franco and Ciccio.
"I due maghi del pallone" can be considered the first movie of a trilogy by Franco and Ciccio set in the world of Sport, together with "I due assi del guantone" (1971), in which the two Actors play a boxer (Franco) and his coach (Ciccio) and "I due della F.1 alla corsa più pazza, pazza del mondo" (1971), in which Franco plays the part of a car driver and Ciccio is in the part of a technician. Among the actors in "I due maghi del pallone", Umberto D'Orsi, Enzo Andronico and Luca Sportelli are also present in other movies with Franco Franchi and Ciccio Ingrassia.
Among the Italian comedies focused on Football (Soccer), "I due maghi del pallone" can be rated among the most successful along with "L'allenatore nel pallone" (1984), which has lead actor Lino Banfi, and "Il presidente del Borgorosso Football Club", with Alberto Sordi, which arrived in Italian cinemas the same year (1970) as the film with Franco and Ciccio.
"I due maghi del pallone" can be considered the first movie of a trilogy by Franco and Ciccio set in the world of Sport, together with "I due assi del guantone" (1971), in which the two Actors play a boxer (Franco) and his coach (Ciccio) and "I due della F.1 alla corsa più pazza, pazza del mondo" (1971), in which Franco plays the part of a car driver and Ciccio is in the part of a technician. Among the actors in "I due maghi del pallone", Umberto D'Orsi, Enzo Andronico and Luca Sportelli are also present in other movies with Franco Franchi and Ciccio Ingrassia.
I Viceré (2007)
A portrait of Sicily during the 19th century, from the Sicilian-Spanish culture to the Risorgimento
The novel, written by Federico De Roberto and published in 1894, is set in Sicily in the period between the Risorgimento and the years following the Italian unification, when the territory of the Kingdom of the Two Sicilies was annexed to the Kingdom of Italy. The events of the Uzeda dynasty - of Spanish origin - are narrated through a development in which the paths of the characters are intertwined with the cultural and historical characteristics of the moment.
"Viceroy" was the title given to the Regents of the Spanish royal government in the Kingdom of Sicily between the fifteenth and eighteenth centuries. Sicily was part of the Spanish area as the Kingdom of Sicily had established an agreement with the royal dynasty of Aragon (Spain). Since then there was a profound historical and cultural link between Sicily and Spain.
The narrative rotates around the legacy left by Princess Teresa, wife of Consalvo VII Uzeda of Francalanza. Starting from this event, the personal stories of his brothers, his sister, his children, his in-laws are articulated, each of which has characteristics from which we can draw an effective portrait of that historical period (and not only of that period).
One of the main passages of the novel is the speech by Consalvo, nephew of Princess Teresa, candidate in the Italian legislative elections of 1882, in which he demonstrates a politician of considerable rhetorical ability and cultural preparation (for example, for his references to Europe). The accuracy of the historical references is another of the main features of the novel.
In addition to the description of the social, historical and cultural context, Federico De Roberto's narration is of considerable quality in the development of the personalities and ways of life of the characters, all very characterized. The description of the disillusionment following the Risorgimento, which materializes in the personal parable of Benedetto, husband of Lucrezia (one of the daughters of Princess Teresa), is particularly realistic. He will see his ideals crumble in the face of the pragmatism of the Duke of Oragua, his uncle Gaspare Uzeda (brother of Princess Teresa).
The character transformation of Lucrezia from the desired modernity to the return to tradition, the moral and cultural unscrupulousness of her brother Raimondo, are some of the features of the novel. For the description of Sicily in the period before and after the Risorgimento, the novel "I Vicerè" and "Il Gattopardo", written by Giuseppe Tomasi di Lampedusa and published in 1958, can be considered complementary.
"Viceroy" was the title given to the Regents of the Spanish royal government in the Kingdom of Sicily between the fifteenth and eighteenth centuries. Sicily was part of the Spanish area as the Kingdom of Sicily had established an agreement with the royal dynasty of Aragon (Spain). Since then there was a profound historical and cultural link between Sicily and Spain.
The narrative rotates around the legacy left by Princess Teresa, wife of Consalvo VII Uzeda of Francalanza. Starting from this event, the personal stories of his brothers, his sister, his children, his in-laws are articulated, each of which has characteristics from which we can draw an effective portrait of that historical period (and not only of that period).
One of the main passages of the novel is the speech by Consalvo, nephew of Princess Teresa, candidate in the Italian legislative elections of 1882, in which he demonstrates a politician of considerable rhetorical ability and cultural preparation (for example, for his references to Europe). The accuracy of the historical references is another of the main features of the novel.
In addition to the description of the social, historical and cultural context, Federico De Roberto's narration is of considerable quality in the development of the personalities and ways of life of the characters, all very characterized. The description of the disillusionment following the Risorgimento, which materializes in the personal parable of Benedetto, husband of Lucrezia (one of the daughters of Princess Teresa), is particularly realistic. He will see his ideals crumble in the face of the pragmatism of the Duke of Oragua, his uncle Gaspare Uzeda (brother of Princess Teresa).
The character transformation of Lucrezia from the desired modernity to the return to tradition, the moral and cultural unscrupulousness of her brother Raimondo, are some of the features of the novel. For the description of Sicily in the period before and after the Risorgimento, the novel "I Vicerè" and "Il Gattopardo", written by Giuseppe Tomasi di Lampedusa and published in 1958, can be considered complementary.
Kaos (1984)
The definitive attestation for Franco Franchi and Ciccio Ingrassia
"Kaos" has been the movie that has marked the return of Franco Franchi and Ciccio Ingrassia to the cinema, after a parenthesis of some years, during which they had above all participated to variety in television. Shows of happening that they had allowed the two actors to resume their classic repertory that, to the cinema, seemed not to have more much space.
"Kaos" has represented for Franco Franchi and Ciccio Ingrassia the definitive attestation of their interpretative abilities, already appreciated from the public who had them always follows, but does not from the critics, that placing them in that comedians zone, above all those coming from the Avanspettacolo, in which Toto' was passed also.
Perhaps has been a sign of the destiny that Franco Franchi and Ciccio Ingrassia has had their higher professional acknowledgment interpreting the transposition of a story - "La Giara" - of writer Luigi Pirandello, sicilian, born to Agrigento (Akragas). Who best of Franco could have interpreted the craftsman who materially does not succeed to get rid from the obtained result thanks to its abilities? Who best of Ciccio could have interpreted the owner of that good that cannot use? "La Giara" it is the metaphor of that impossibility to use a good (the art of the comedy) that Franco and Ciccio possessed, but of which they could not draw all the benefits: the acknowledgments of the critic.
"Kaos" has represented for Franco Franchi and Ciccio Ingrassia the definitive attestation of their interpretative abilities, already appreciated from the public who had them always follows, but does not from the critics, that placing them in that comedians zone, above all those coming from the Avanspettacolo, in which Toto' was passed also.
Perhaps has been a sign of the destiny that Franco Franchi and Ciccio Ingrassia has had their higher professional acknowledgment interpreting the transposition of a story - "La Giara" - of writer Luigi Pirandello, sicilian, born to Agrigento (Akragas). Who best of Franco could have interpreted the craftsman who materially does not succeed to get rid from the obtained result thanks to its abilities? Who best of Ciccio could have interpreted the owner of that good that cannot use? "La Giara" it is the metaphor of that impossibility to use a good (the art of the comedy) that Franco and Ciccio possessed, but of which they could not draw all the benefits: the acknowledgments of the critic.
I due assi del guantone (1971)
Other actors with Franco and Ciccio
In several films of first years Seventy, Franco and Ciccio benefit of the possibility of being able to count on other actors and character actors of experience, that contribute to better define the development of the plot. In "I due assi del guantone" there are a pair of great names of Italian comedy: Mario Carotenuto and Ave Ninchi.
The first one has crossed all the period of Italian comedy, from the first years Fifty - es. the several "Pane, amore e..." -, working with Toto', Peppino De Filippo, Vittorio De Sica, to the years Sixty, until that one often denigrated of the years Seventy and the beginnings years Eighty.
Ave Ninchi counts between its better interpretations that one in "Guardie e Ladri", with Toto' and Aldo Fabrizi, with which, thanks also to successive "La famiglia Passaguai", has formed perhaps the best Italian cinematographic pair of "husband and wife".
The first one has crossed all the period of Italian comedy, from the first years Fifty - es. the several "Pane, amore e..." -, working with Toto', Peppino De Filippo, Vittorio De Sica, to the years Sixty, until that one often denigrated of the years Seventy and the beginnings years Eighty.
Ave Ninchi counts between its better interpretations that one in "Guardie e Ladri", with Toto' and Aldo Fabrizi, with which, thanks also to successive "La famiglia Passaguai", has formed perhaps the best Italian cinematographic pair of "husband and wife".