TÍTULO The woman monkey
AÑO 1964
subtitulos Si (Separados)
DUREE 92 min.
Marco Ferreri
DIRECTOR SCREENWRITER Rafael Azcona Marco Ferreri &
MUSIC PHOTOGRAPHY Teo Usuelli
Aldo Tonti (B & W) CAST
Ugo Tognazzi, Annie Girardot, Linda De Felice, Antonio Cianci, PRODUCER: Walter Giller Italy-France co-production; CC Champion / Les Films Marceau; Producer: Carlo Ponti
GENRE Comedy. Drama ashamed of how it is: has hair on face and arms. Antonio convinces her to go with it, has seen a big business: display it like an ape woman he found in the African jungle. (PRO)
Antonio, who lives in Naples by various stratagems, he accidentally knowledge of Mary, a woman completely covered with hair. He understands that he found his hen that laid golden eggs and decides to expose it to the public as a freak, like a legendary woman in a fictional exploration of monkey discovered in the forests of Africa. To be able to take with them will be forced to marry her and when the pregnant woman remains something will go wrong Affairs of Antony, though not for long ... One of the most representative films of the allegorical and metaphorical Ferreri film, "The monkey woman" is very interesting and exciting because of the subtexts that run through crawling and powerfully to the minds of viewers, entertained in the meantime by a series of narratives that are deliberately reaching the grotesque in telling the cynicism and pettiness of human beings. 
Through the story of the penniless that exploits the poor woman to earn more money, in fact we are told from which all humanity will most likely no of us is excluded. Because it is difficult to understand who the real monster, beyond the fact that you can obviously exclude the innocent woman-monkey has only appearances. E 'Antonio, the exploiter, or are all those who come in droves to see the woman locked in a cage at the beginning, or the girl in the middle brief film, or the embalmed body at the end? With a pioneering not indifferent, in fact, perfectly Ferreri has painted a society that now seems more vivid and real than ever, as we are swept from one end to the morbid voyeurism and attention that is unparalleled.
Through the story of the penniless that exploits the poor woman to earn more money, in fact we are told from which all humanity will most likely no of us is excluded. Because it is difficult to understand who the real monster, beyond the fact that you can obviously exclude the innocent woman-monkey has only appearances. E 'Antonio, the exploiter, or are all those who come in droves to see the woman locked in a cage at the beginning, or the girl in the middle brief film, or the embalmed body at the end? With a pioneering not indifferent, in fact, perfectly Ferreri has painted a society that now seems more vivid and real than ever, as we are swept from one end to the morbid voyeurism and attention that is unparalleled. cut and broken in a criminal complaint from the then "The woman monkey "is also a heavy critique of the hypocrisy and absurdity of Catholic morality, as illustrated by the various measures taken by the leaders of that world, especially one in which a nun agrees to go with Antonio Maria provided the spouses, although aware of the abuses of man against the girl. The important thing, in short, is to keep the facade and be clean in the eyes of others, even if within the family is everything. Moreover it is the institution of marriage to be targeted by the director shows us the emptiness and, above all, the false consistency. Get married, more often for utilitarian reasons or because they are forced by society, even if you do not feel love and respect for the other person. Another major cut, a real mess that affects the soul and essence of the film, is that concerning the controversial final upset in its nature evil and sarcastic and silly made, and feel-good rhetoric to the real desecration of 'work of art, because of an easy choice and not very courageous producer Carlo Ponti, who imposed this unfortunate decision. Ferreri where we had left with a bitter Antonio yet exploiter of his family, despite the tragedy, we wanted to finish everything with a happy ending that reverses the direction of the film.
not save no, as always, Ferreri and tells us this story unusual and engaging by putting all his attention on the two main characters, leaving the background setting deliberately vague, because from the study of two personalities is able to broaden our vision and not to embrace more detail, but the general. After all without it saying we do not notice that the two move from Naples to Paris to work in a nightclub. Because no matter the point of departure or arrival, what matters is how we behave, how you live anywhere. As always fantastic
Ugo Tognazzi, can give all the right nuances to his character, a some 'rogue, a bit' shabby, a bit 'lazy, a bit' short Italian. The Girardot is perfect in expressing all the naivety and inability to resist and to defend Mary's, although when you reach certain limits (Antonio even think of selling it to a scientist who wants to make it "match" in exchange for money) , took a considerable pride.
After all it is the dignity that seems to be missing to be Antonio and, instead, strongly present in Mary. A dignity that seems to be endangered, which is owned by the woman rather than the monkey, from which the 'human' Antonio and all those accorrono che così per non perdersi an unusual spettacolo. Alessandra not save no, as always, Ferreri and tells us this story unusual and engaging by putting all his attention on the two main characters, leaving the background setting deliberately vague, because from the study of two personalities is able to broaden our vision and not to embrace more detail, but the general. After all without it saying we do not notice that the two move from Naples to Paris to work in a nightclub. Because no matter the point of departure or arrival, what matters is how we behave, how you live anywhere. As always fantastic
Ugo Tognazzi, can give all the right nuances to his character, a some 'rogue, a bit' shabby, a bit 'lazy, a bit' short Italian. The Girardot is perfect in expressing all the naivety and inability to resist and to defend Mary's, although when you reach certain limits (Antonio even think of selling it to a scientist who wants to make it "match" in exchange for money) , took a considerable pride.
Cavisi http://www.livecity.it/2010/12/01/recensione-la-donna-scimmia-di-marco-ferreri-1964/ 
Azcona, another of our
Rafael Azcona has gone to meet the bearded woman and her son got stuffed in a bottle. The show must not only continue, but continues.
Azcona was a poet and aspiring bullfighter in his native Logroño Madrid When he arrived in the early fifties verses left and went to comedian. Worked at "The Quail" school of humor. Of the papers went to novels and a clever Italian representative, Marco Ferreri, decided that those could become movies. First tried "The dead do not touch, baby" and ended up doing together the little flat and the buggy, two emblematic titles of absurdity in the Spain of predevelopment. Then in Italy, continuing to develop this vision of the world etched in a mirror game between physical and moral deformities grotesquely multiplied resulting in the business is over (La donna scimmia / Le mari de la femme à barbe, 1963). The origin of this film is the biography of the Mexican Julia Pastrana, who suffered from a condition known as hypertrichosis. As the "science" of the film, doctors diagnose the time that this phenomenon was only possible by the unnatural crossing between a human and an orangutan. Julia travels to America in 1854 where the exhibit as "Bear Woman." Slavery was abolished, the entrepreneur Theodore Lent is only a solution to capture the phenomenon ... to marry her. Thus begins Julia exploitation in two ways: to popular public, pure and simple display in which a woman passes by a being wild and illiterate; for the good society, gatherings at home, where shines with their language skills and his interest in literature. The largest employer in the circus of his time, PT Barnum, says that this is "too much to the circus." Six years later, on tour in Russia, Julia became pregnant, but the delivery is complicated and the mother and son, covered with hair, like her mother die in a short time. Lent runs the last cartridges and sells tickets to witness the agony of Julia. Then, about embalming the bodies and sold to the University of Moscow, but to learn that the mummies are displayed publicly, claiming the bodies and put the business back up. In this last section, Azcona Ferreri and conform to historical reality almost point by point.
Displaying a masterful narrative economy, Azcona rundown movie in just seventeen scenes. Just a couple of them are composed of more than one sequence, the rest comes down to talks to two or three bands. The apparent simplicity of the method makes it a clockwork in which each new ellipse represents a leap in the dark in the degradation of Antonio Focaccia (Ugo Tognazzi) in its effort to exploit the phenomenon (Annie Girardot). Nothing superfluous, perhaps needless cruelty of the wedding march in which Mary sings that the "white and bright is the bride ..." beset by people. Without ever falling into the babosería, Mary is gaining in dignity in our eyes while Antonio falter.
During negotiations for Mary to do a striptease club in Paris the employer insists, "ah, l'argent! L'argent! ". Here is the crux, the heart, the intricacies. Contrary to the claims of the English title, the business does not end. Azcona and Ferreri, clearly explained throughout the story that all relationships are economic. Antonio asks Mary the money hidden under the mattress to pay the tree where she will have to make a woman-mona, the urge to perform its role because the sooner you start, the before recover its investment, the alleged scientific research, not seeking anything other than the deflowering of a monster issue in terms of corporate compensation, when Mary leaves you retrieve your luggage and your savings account, and when Antonio wants it back, take a donation the nuns, the sexton of the chapel to which they will pray for the health of the fetus requires a new mite. Amputation of the last sequence from the Italian producer wanted to fake, because the death of Mary and her baby could be read in the key of redemption of Antonio. Ferreri said offended that this made his film in a romantic drama nineteenth century, but there is none. Museum scene when he goes to retrieve the two bodies, is brutal in its bureaucratic apathy. For the latter, the display of stuffed phenomena in a barracks, no adjectives. Desolation know little. The aberration has bottomed out but as always Azcona, is perfectly logical. The logic of the characters, not the movies. True showman, Antonio is of the greatest American, "the show must go on." The history of cinema offers curious symmetries. In his European tour imitates Julia Pastrana Lola Montes. Are not there, relatively speaking, it seems reasonable between the end of La donna scimmia and the última película de Max Ophuls?
Sr. Feliú http://www.circomelies.com/2008/04/azcona-otro-de-los-nuestros.html
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