A Special Day

Film

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<strong>Rating: </strong>5/5
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Time Out says

If American audiences could buy the films of Lina Wertmüller wholesale, it's hardly surprising that A Special Day, a more restrained but equally spurious piece of Italo-attitudinising on sex and politics, pulled two Oscar nominations. It looks 'serious': newsreels set the scene as the day of Hitler's visit to Rome in May 1938; the colour is bleached to an approximation of sepia; Loren eschews make-up. It sounds 'meaningful': Mastroianni mouths philosophy down the phone; the radio blares Fascist agit-prop. It boils down, however, to the worst kind of sentimental tosh, as Loren's dowdy housewife sets aside her dreams of the Duce for a day and embarks on a brief encounter with Mastroianni's hounded homosexual from across the courtyard. And its supposed 'achievement' is to present this unlikely coupling as a revolt against their mutual oppression, itself 'explained' by Fascism. QED: rubbish.

Author: PT

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Release details

UK release:

1977

Duration:

105 mins

Cast and crew

Director:

Ettore Scola

Cast:

Nicole Magny, Françoise Berd, John Vernon, Marcello Mastroianni, Sophia Loren, Patrizia Basso

Music:

Armando Trovaioli

Art Director:

Luciano Ricceri

Editor:

Raimondo Crociani

Cinematography:

Pasqualino de Santis

Screenwriter:

Ettore Scola, Ruggero Maccari

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Comments & ratings

Rated as: 5/5 (1 rating)

  • Thank you, Nic, for offering a succinct counterpoint to the unbelievably insensitive critic review. This was my first exposure to Scola and I can't wait to see more after viewing this beautifully composed film (even after seeing it in a horribly transferred, cropped and dubbed rendition!). The apparent simplicity that does not let your attention idle as it moves the story flawlessly through sound as much as sight, foregrounds a deeply honest exploration of oh so human convictions and feelings that can make us both strong and vulnerable, public and private. Marvelously refreshing.

    dash Sat Jan 22 2011
    Rated as: 5/5
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  • Well the first thing that should be said in regard to this review is that Lina Wertmueller did not direct this film. Ettore Scola did and if the reviewer had seen the film they would have caught that right away in the credits. The film is exceptional. Mastroianni is restrained and plays against himself with a certain simplicity that is usually missing in his other "grand" performances. Loren is just as good as Mastrioanni in being able to underplay her housewife. The film is simple and quiet, and within that simplicity it becomes exceptional. Scola wanted to continue with his foray into social politics with this tour de force and the film garnered a great deal of critical success.

    Nic Mon Jul 12 2010
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