Storie di ordinaria follia
Regie:
Marco FerreriDrehbuch:
Marco FerreriKamera:
Tonino Delli ColliMusik:
Philippe SardeBesetzung:
Ben Gazzara, Ornella Muti, Susan Tyrrell, Tanya Lopert, Katya Berger, Roy Brocksmith, Carlo Monni, Judith Drake, Ted Rusoff, Lewis E. Ciannelli (mehr)Inhalte(1)
Weil er die Sinnlosigkeit seines Daseins kaum noch ertragen kann, gibt der ohnehin nur mäßig erfolgreiche Schriftsteller Charles Serking seine Arbeit auf und zieht sich in die zwielichtige Welt der Gauner, Nutten, Strichjungen und Trinker zurück. Auf der Suche nach Liebe wandert er durch die Kneipen und Absteigen von Los Angeles, wo er schließlich auf die junge Hure Cass trifft. Eine schicksalhafte Begegnung. Unter dem Einfluss der inspirierenden Prostituierten beginnt Charles wieder zu schreiben. Doch ihr beidseitiger Hang zur Selbstzerstörung lässt der Beziehung keine Hoffnung. (Verleiher-Text)
(mehr)Kritiken (3)
The writer Serkin as an alter ego of Charles Bukowski, who meets the ideas of nonconformist, provocative, and free-minded artist in abundance, is an immensely grateful character that offers great potential and an attractive spectacle with a philosophical subtext. The opening scene, where Serkin introduces his fans to his view on "style" as a way of life, is also truly stylish and entices film fans. If Ferreri had focused more on the dialogue and increased the pace, if he had let more of Bukowski's thoughts be heard in the film, and if he had managed to create fully-fledged characters out of the characters that surround his protagonist, whom Serkin and his value ladder must confront and that influence each other in the form of dramatic conflict, an exceptional film could have been created. Unfortunately, the chosen pace is extremely slow, the camera lazily glides here over a naked female body, there over the seashore. The dramatic storyline is weak, albeit embellished with a very bold portrayal of human sexuality for its time. The view of naked Ornellia and her self-torment was undoubtedly on the very edge of what was acceptable in the early 1980s. Today, this work is only a part of film history, intended for film enthusiasts, and perfect for screening in film clubs. Overall impression: 60%.
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The lead actor makes a strong impression right off the bat, and I thought I was in for a real ride. But after that, the film starts to dip in quality—especially in the dialogue—and I ended up falling asleep halfway through, finishing it the next day. It’s got a certain charm, but honestly, the idea of the film feels way more intriguing than the actual execution.
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Considering the theme, I would have expected everything to be a bit dirtier, but actually, there are only a few scenes that really get to you. Especially the ones where Ornella Muti hurts herself. And those are the scenes that really ground you. But then suddenly nothing, and you don't get what you'd expect from something based on Bukowski.
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