Index pointing to prepackaged, induced, vacuum-packed happiness. Cheerfully unhappy, fifty-year-old Aurelio (Paolo Kessisoglu) is a predestined ex who has lost his way. The son of an entrepreneur of the economic boom, he is now an established wedding planner, a profession that was in his childhood dreams. He creates marriages and, for a long time, he was convinced that that was his true calling. The company is called «Il Giorno più Bello». Organize the ceremony, the throwing of rice, the wedding march. Then everyone at the table to crapulate. Menu, music, special effects. However, when the crisis and Covid put the started business to a severe test, Aurelio decided to sell. The urge to give up comes from too much debt and the desire to treat yourself to a summer on the boat together with Serena (Valeria Bilello), the kitchen manager, a very helpful person although married to the photographer Giorgio (Luca Bizzarri), to whom she cannot say: «I leave you».
Giorgio would have liked to be a war reporter but at the right moment he was overwhelmed by fear and now he finds himself penniless, with a son who despises him and, lying on a sofa, cannot build a future. “Il Giorno più Bello”, in the sense of the company, appeals to Dr. Musso (Carlo Buccirosso), father of Chiara (Fiammetta Cicogna), betrothed to Pier (Stefano De Martino). She is the ex of Billy, a tarnished and incanaglita rock star (Lodo Guenzi, frontman of the Social State). He is an aspiring dancer, not very awake and too sensitive, attached to his mother’s skirt.
Pier and Chiara’s marriage becomes the testing ground for the sale of the business. Musso will say yes to the purchase only if the little one is happy. Therefore, everything must be perfect. Aurelio relies as usual on Adele (Violante Placido), a very stressed dry nurse of the bridal business. In the meantime he has to keep his tired brother waiter (Massimo De Lorenzo) at bay, the psychologist and multi-degree scullery maid, the bored guests, the Fantozzian cooks, the funny nervous breakdowns of Adele and Billy and so on. The party runs the risk of turning into a real disaster. Pier at one point flies away like a balloon, Serena remains undecided about the meaning of the word love, Giorgio finds the courage to confess to his negligent son. Aurelio touches the precipice several times, but in the end he finds himself again. He lived a forced existence thinking of pleasing his parents: from now on he will seek his freedom. Giorgio, the friend and companion from school, is of the same dough. There is competition between the two and there is also understanding. Theirs is a manly but querulous friendship. More suitable for a mixed male / female couple.
The most beautiful day marks the debut behind the camera of Andrea Zalone, who is the shoulder (and voiceover) of Maurizio Crozza. It is based on the French comedy C’est la vie – Take it as it comes by Eric Toledano and Olivier Nakache, the directors of Almost friends. It has a markedly televised pace, moments of tiredness and amusing wheelies. Zalone sticks to the French model granting itself rare licenses. The cast is harmonious, elastic, round. Luca & Paolo pull the group: the action takes place in a magnificent castle in the countryside and in the theatrical dimension the two wallow in it, mortgaging a more than plausible cinematic turning point for their career.
THE MOST BEAUTIFUL DAY by Andrea Zalone
(Italy, 2022, duration 102 ‘)
with Paolo Kessisoglu, Luca Bizzarri, Valeria Bilello, Carlo Buccirosso, Fiammetta Cicogna, Violante Placido, Lodo Guenzi
Rating: *** out of 5
In the halls
11 June 2022 | 08:41
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