The new comedy by Lillo & Greg polite and opens the way to their most surreal vein. But a lot of it stops at gags for their own sake, without real logic to unite them
Like the two-faced statue that at a certain moment ruins Lillo’s sleep, their new film can also be watched from two sides, which seem to cancel each other out but then also integrate. Why The idols of women
ends up combining the best and the worst of what you can expect from Italian comic post Zalone, that of many radio or television comedians who have tried to compete with cinema. The best soon said: no vulgaritya good dose of misunderstandings that pave the way for them more surreal veina creative generosity that plays on accumulation. But even the worst evident, starting with lack of a real one film scriptcapable of guiding the viewer along a path that is not only that of jokes. But perhaps one goes hand in hand with the other, because the thinness of the starting point would risk making a monotonous story monotonous (if consistent with the premises) and instead the twists and turns of logic that elsewhere would have irritated here you end up by digest them (perhaps unwillingly) because without them the film would risk run aground.
This impasse clear from the start when the idea of a handsome gigol but boring (Francesco Arca) begins to run out after a few minutes. Fortunately, a taxi accident (due to a forced taxi driver raving about classical music broadcast by an even more forced radio) sends the handsome Filippo in hospital from which it re-emerges three months later completely changed. And her poor mother (Daniela Piperno dressed up like Edna’s The incredibles) instead of Francesco Arca stands opposite Lillo. Which of course comes rejected by customers and for this he is sent to class by guru of seduction Max (Greg).
But the idea of the lessons, after running out of three or four even fun ideas (the interchangeability between the twin servants, the incomprehensible meditation sessions, the total clumsiness of the student), risked a new phase of tired and then with a double somersault the film moves to Colombia to make the acquaintance of a very jealous man drug trafficking boss (Corrado Guzzanti) with his succubus wife (Ilaria Spada) and thirty-year-old daughter (Maryna) still a virgin because every pretender is eliminated by the parent. Why then this family comes to Italy to buy cocaine from the ‘Ndrangheta instead of selling it one of the many logical holes of the screenplay (signed by the two comedians and by Matteo Menduni and Tommaso Renzoni) but also the way in which to change the adventures of Filippo and Max.
Here, the fragility of writing, which does not care about logic or consequentiality (just one example: at the beginning the island where Max retired seems at the end of the world and it takes a seaplane to reach it but then Filippo goes there and comes in a battibaleno) at this point seems an obligation to avoid moments of tiredness and direct the viewer’s attention to occasions for comedy – which are not lacking – and not on a rather cumbersome plot. The ace of the film is his ability to create comic situationsnot necessarily original (Max who suggests with a headset to Filippo how to behave with a woman comes from afar, even from their previousLightning strikes
albeit with overturned roles) but capable of surprising and making logic forget.
L’ambition to refer to a cinema of a very different caliber commendabledai cartoon a Jerry Lewis (which the two must know well given the ideas they appropriate, but this is all to their credit), as well as the choice to arrive at a comic as free as possiblesurprisingly surreal. Too bad it stops a lot at gags ended in themselveswithout a real logic to unite them, leaving the viewer with the impression of catalog and of compilation non
of coherence and of the whole. He is also to blame for a service direction (by Lillo and Greg with Eros Puglielli) that forgets all ambition. But perhaps these are old whims of those who do not want to be content with having fun and also wants gratify intelligence. Just like she knew Jerry Lewis.
April 10, 2022 (change April 10, 2022 | 21:18)
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