John Doe

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Mary Taylor

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L’ultima notte di Amore, the last movie with Pierfrancesco Favino is a perfect bloody thriller

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The Romanian actor, who sometimes finds himself making big characters in small films, does what real stars do: He sees the movie as big and tries to make himself a little small with the calculated, highly credible grace of a Southern cop in the North.

“Successful”, “best example”, “good nonetheless”…but what is all this seriously gripping about? Let’s go. The last night of loveDirected by Andrea Di Stefano, a perfect bloody thriller. When we produce such a work at home, we simply have to dedicate ourselves to launching the infamous festival of “Twelve Minutes of Applause”. Milan creep, it would have been called Di Leo & Co. fifty years ago. Watch out though, we must not fall into the gender trap; Why This metropolitan nightmare aired frame by framelooming, linearly tragic, falls to the policeman Franco Amore (Pierfrancesco Favino), a few hours before eager retirement, chews up echoes of noirs, detectives, and thrillers and then redraws them onto the elusive sulfurous canvas of Milanese night.

In short, no postmodern lessons, no low-budget gimmicks, but cinema imagined in its wise and extraordinary nature as if Di Stefano (also a screenwriter) felt that story, that rhythm, that tone, that all-encompassing harmony in his veins. The opening credits roll on an objective view of Milan by night as the world talks about it. And he talks about it because they actually shot it with a helicopter, so it provides more stability than those drones. Instead we add that this is his official selection Direct force to draw a spectator into a large area Which after a few urban moments becomes an indistinct and vague magma from which streets of fire flow as if we were among Blade Runner And Mad Max. And a shot that turns into a burst shot, so it doesn’t really fit into any genre, but somewhere near masterpiece. After that, things are back to normal stylistically. The trigger for the hero’s last night necessarily passes from the farewell party that his wife (Lydia Caridi) organizes for him at home. Amory arrives in formal clothes, distracted and a little disoriented, and we understand that something is wrong, that something is a call from Amory’s colleagues: there are problems at the intersection of the ring road. A revealing flashback, a good hour of film, makes the tape flash back to ten days before the party. Love in a non-service car tries to write in a notebook a farewell letter with rhetorical heroic overtones. Erase, rewrite, erase.

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Love is an honest condition, but not classically good, which no man has ever shot in all these years of service. Meanwhile, in a nearby restaurant, the son-in-law trades watches with a billionaire soccer player. Later, at an elite brothel, Franco is urgently called upon by his brother-in-law to rescue, with a heart massage, an elderly Chinese who is none other than a wealthy “businessman”. The Chinese invite him to his shed near the Duomo and among the secluded young ladies and oriental vassals they ask Amory to become the head of his security service at a very high salary and money. Love puts his hands forward, but gives in, and a few days later, after a few hours of retirement, he has to transport a Chinese girl with a strange suitcase who has just arrived in Malpensa with his mate for life, he finds himself pushed into a criminal deceit even greater than he is. narrative flow The last night of loveas you understand from the plot, contains the kind of triangular elliptical division (last night – ten days before last night) with a breathtaking queue at dawn in the middle of a half-empty Milan where the anti-hero travels alone and who knows if he gets unharmed.

If Di Stefano triggered a flashback with Oriented durability with precision cutting On the tone of the voice of the protagonists (Franco, his wife, son-in-law and colleague are Calabrians and speak the dialect) and on the exact words they say to each other (see the feelings that Favino builds with Caridi in the elevator or in front of a watermelon), in the large, prominent central part that re-weaves the threads of deception forcing the whole cast On living intermittently in the night space of a large road junction lit by lights, sirens and lampposts where shootings take place with fatalities. Di Stefano plays up the movie by moving Favino back and forth for dozens of meters between corpses, corrupt cops, halting panthers, and anxious bystanders by looking at the crime scene; Which makes him meet practically all the characters in the movie to find his way out of the trap, and each time the shot, the cut, the angle is never different from the last. in The last night of love Every surface, every background, even when a few days have passed outside, becomes in the general design, in the picturesque arrangement, in the symbols of their lines (up and down the intersection with the bridge over it that hides a secret; the deep cave of a brothel where love is drowned, Al-Fatiha) an element most startling and exciting . In short, one does not take one’s eyes off Di Stefano’s film, Not even when you have doubts about the fact that Favino, 60, doesn’t even show it with gray streaks. The sometimes majestic soundtrack of Santi Pulverente appears frenetic with the spin rising and falling as if we were in a horror movie. Linda Caridi had taken her clothes off ligaments And we fainted, here she is the weight-sharing champion and knows how to play the game with ease. Favino, who sometimes finds himself making big characters in small films, does what real stars do: He sees the movie as big and tries to make himself a little small with the calculated, highly credible grace of a Southern cop in the North.

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