TITLE
L'uomo in più YEAR 2001 SUBTITLES Si (Separate)
DURATION 100 min.
Paolo Sorrentino Paolo Sorrentino PHOTO SHARING PRODUCER . Naples, 80's. Good times in the Italy of easy success. Two men share the same name, same birth date: one player, the other singer. Their fates are crossed by chance in times of decline for both. (FILMAFFINTY) http://www.mediafire.com/?m80ol3bf3lzusze
http://www.mediafire.com/?5db8mjnw7z1m0gc subtitulos
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Quell'Antonio Pisapia, singer and player Sorrentino tells the parallel lives of two young people and symbolic of the 80 homonyms With "Man in piu ',' second title Italian Cinema of the Present competition at the thirty-one Paolo Sorrentino signing a debut unresolved, however, that the report as a new filmmaker on which to bet. We wanted a more 'cunning skill' to be conducted in parallel (up to the moment when two characters touch with fatal consequences), the story of two very different, yet share a common name, Anthony Pisapia, the same day (August 15 ) and a similar fate. Following an incident on the field, a football player at the height of fame can be found on the bench, because of a reckless life (drugs and sex with minors), a successful singer ends up in the courts. E 'in 1980: four years after we both Pisapia busy trying to replace the ink: the athlete is trying to build a coaching career, which, moreover, that had always been his real aspiration, but no one wants, and the singer, waiting impatiently for a writing major, agrees to perform in the streets of far-flung villages. But 'there' nothing to do, and now Antonio A Antonio are only two men in piu '. Despite the fact that the frame 80, chosen as a golden age of yuppismo rampant, remains the most 'that you hear, Sorrentino, well supported by the director of photography Pasquale Mari and production designer Lino Fiorito, shows a happy hand in environments : Visually the film is not 'never dull and has its own atmosphere, incisive expressiveness' that bears the mark of the matrix of the Neapolitan director.
But if in the role of stopper Pisapia, the Andrea Renzi despite good play on the rope mat implication determination that turns into manic obsession, in the role of singer Pisapia, an extraordinary character Toni Servillo creates a cynical, dissipated, poised between self-destruction and continuous vitality, with such impetuous force by unbalance the weight of the whole affair on his side. Mind you, and 'also a merit of this excellent theatrical Sorrentino has had the chance' to compete on the screen with a character so 'intriguing, is not afraid to be negative and, as Don Giovanni, never repented of his selfish desire prevaricatoria of life. As for the French "Reines d'un jour" by Marion Vernoux, another title in the competition, and 'the usual comedy that intertwines the paths of a group of lonely characters or poorly matched or looking for love. Some situations are fun and a good cast that includes Jane Birkin and Victor Lanoux you notice the spirit Karin Viard. But the film and 'those who do not understand what they want and tell and' more 'suitable for home cinema in the room of a festival. Alessandra Levantesi
La Stampa, 09.02.2001 (P. 27)
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