A different way of telling a story

It's entirely possible that sending the audience out feeling lousy was intentional

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Close shines in drama with strong language, adult themes.

This 148-minute (far too long) film is so confusing that you're not sure at times if you're watching a film in 'real' time or watching flashbacks on flashbacks.The movie is based on two real characters -- actors Luise Ferada (Monica Bellucci) and bombastic Osvaldo Valenti (Luca Zingaretta) -- who were big movie stars in fascist Italy before and during the Second World War. Despite the film's length, their motivations and personalities are never really explored. We know that they're cocaine users and so consumed with themselves that they are basically indifferent to the fascism that ultimately does them in. This is a film that should be alive with the frenetic tempo and intrigue of the times, but it's instead oddly static. It is difficult to imagine at times that a war is going on all around the many characters who weave in and out of the frames -- so many in fact that the viewer starts losing track of who is a fascist, who is a resistance fighter (partisan) or who, like the lead characters, is basically a person who doesn't much care one way or the other. This film should have been far more interesting, engrossing and exciting, but it settles instead for a confusing love affair and a strange, leisurely pacing that undermines the film throughout. The director, Marco Giordana, must take responsibility for this.

What a pity to see Inspector Montalbano wasting his talent in this period soap. The viewer endures endless soft porn images of middle aged Monica Bellucci - whose acting explores the gamut of facial expressions from "concerned about what's going to happen next" to "very concerned about what's going to happen next". Luca Zingaretti gives a one dimensional performance as the drug addicted love interest and various other actors come and go in a confused melange of flashback, fast forward and present time - all spinning like vapid moons in Bellucci's bosomy orbit. As for the plot - the less said the better. The movie revolves around the not-so-vexing question of whether the lovers will be killed by revengeful partisans - less plot device than mercy killing. Save your money and watch grass growing for 148 minutes - you'll have more fun with the grass.

I had read the other reviews here, and considered the film worth a viewing, though without high expectations.I was very disappointed. (However I think the criticism of Bellucci is a little harsh: her character as written and directed was so asinine that it seems unfair to complain that she played 'a sofa' as 'a sofa'!) The cutting to flashback (another comment on IMDb) was about the only feature which was interesting about this film. At least it kept me awake! For me, an immeasurably better portrayal of fascist 'minor celebrities' and their cocaine habits is to be seen in Bertolucci's Millenovecento. I appreciate that Bertolucci's masterpiece is better remembered for 'the goodies' Gerard Depardieu and Sterling Hayden - but Act II gets to grips with the other aspects of the Mussolini regime, and the excesses of the 'favoured'.

For people who were already moviegoers during WW2, this movie is a gem, because it is impossible to forget the extraordinary performances given by Osvaldo Valenti during his brief career. I well remember one of his deliveries in LA CENA DELLE BEFFE (1), perhaps his best movie. It is understandable that Tullio Giordana nourished his project for more than 25 years, and it is impossible not to be touched by Luigi Zingaretti's interpretation of Richard III.("A kingdom for a horse!") It is a long movie (2 1/2 hours) and at least the first half is excellent, because of the description of the atmosphere during the unfortunate war fought by Mussolini "to please his master". It is a pity that Monica Bellucci doesn't meet the expectations, especially when one remembers the high number of "divas" from Cinecittà who entertained us in the Forties. With American movies gone, and French movies scarce, the "white telephones" from the Italian comedies were a good replacement, and the "whale movies" like CORONA DI FERRO (Blasetti)were very impressive.Unfortunately,after the first half, SANGUE PAZZO doesn't keep its pace. As stressed up by another comment , almost all the climaxes are cut short by flashbacks, to the point of confusion, if not frustration. However, the beginning and the end - a couple of youngsters taking possession of one of the devilish couple's movies -is an excellent idea. Marco Tullio Giordana is better with TV series than historic movies, but I am hardly waiting for his next production.Harry Carasso, Paris, France (1) "In the water, there was a small red fish who was staring, staring, like a tear of blood...").