Ultimo Bacio (L')

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Con questo film si rivelò definitivamente una nuova generazione di attori, tutti più o meno coetanei, tra i quali Pierfrancesco Favino, fino ad allora sconosciuto [1] Accoglienza [ modifica | modifica wikitesto ] Il film avrebbe dovuto intitolarsi Non sono pensieri carini, ma il compositore della colonna sonora Paolo Buonvino fece ascoltare a Muccino un brano che stava arrangiando per Carmen Consoli, sua concittadina. Muccino volle subito adottarlo come tema del film e utilizzarne il titolo ( L'ultimo bacio, appunto) come titolo del film.

I've already mentioned the wonderful score, but I would also like to point out another lovely sound in this film... the Italian language. Never before have so many words been crammed into a two hour movie. It is a lovely language to behold. It sounds beautiful whether it is being whispered or screamed. I know it may seem a little meaningless to state such a thing, but I believe that a great film can be enjoyed with either the sound or the picture off. This film assuredly looks gorgeous, but it sounds even better! A sequel to the film (Italian: Baciami ancora; English: Kiss me again) was released in Italy in February 2010. Muccino's prowling, restless camera and insistence on underscoring every scene with lush mood music are annoying embellishments, and he could have tied up the various plot strands with less indulgence. Still, this is an intelligent and dark-edged romantic comedy that offers a bracing antidote to Love Actually's treacly sentiment. Nel cast del secondo film non figurano neanche Martina Stella, Stefania Sandrelli, Sergio Castellitto, Carmen Consoli, Ines Nobili, Piero Natoli e Vittorio Amandola (deceduti entrambi prima del sequel), Regina Orioli e Luigi Diberti; in compenso vengono aggiunti altri personaggi, interpretati da Valeria Bruni Tedeschi, Primo Reggiani e Adriano Giannini, oltre a Vittoria Puccini che sostituisce, appunto, la Mezzogiorno nel ruolo di Giulia. Il film ruota attorno alle vicende di Carlo ( Stefano Accorsi) e dei suoi amici Adriano ( Giorgio Pasotti), Paolo ( Claudio Santamaria), Alberto ( Marco Cocci) e Marco ( Pierfrancesco Favino), i quali, giunti alla soglia dei trent'anni, si trovano a riflettere sulla loro vita e le loro scelte, scardinando così le certezze di sempre. La loro crisi è la sindrome di Peter Pan dell'uomo moderno, la paura di finire imbrigliati in schemi precostruiti, dal lavoro e dai doveri della famiglia, rischiando così di smarrire la propria natura.I nomi di Carlo e Giulia ricorrono anche in un altro film di Muccino, Ricordati di me del 2003, medesimi nomi adottati da Marco Risi nel 1985, per i protagonisti del suo film Colpo di fulmine. Originariamente i protagonisti dovevano essere Kim Rossi Stuart e Claudia Pandolfi, ma sia l'uno che l'altra rifiutarono e il regista scelse Accorsi e la Mezzogiorno fra i quali in quel periodo era in corso una relazione anche nella vita reale. Carlo becomes more and more frustrated with his mundane existence and begins to question his relationship with Giulia, who is pregnant by now. The longer he thinks about it, the more restless he becomes, and he eventually shares his feelings with his close-knit circle of friends. Giulia ( Giovanna Mezzogiorno) and Carlo ( Stefano Accorsi) have been happy together for three years, but Giulia's announcement that she is pregnant sends him into a secret panic. Terrified at his imminent entry into the adult world of irreversible responsibilities, Carlo finds himself tempted by a bewitching 18-year-old girl, Francesca ( Martina Stella), whom he meets by chance at a wedding. The possibility of one last youthful crazy fling before the impending prison of parenthood proves to be too attractive to resist.

In the middle of all the drama and confusion, Carlo meets Francesca, an impulsive and fiery young woman. Francesca captures Carlo's heart and imagination, and they begin a secret affair. impending parenthood and goes hunting for one last conquest. But familiarity does not breed contempt in a good-looking movie that takes a perceptive and often caustic look at the agonies and ecstasies of modern relationships. L'ultimo bacio, a romantic comedy drama film released in 2001, directed by Gabriele Muccino, has been one of the most popular and appreciated films of Italian cinema. The film stars Stefano Accorsi, Giovanna Mezzogiorno, and Stefania Sandrelli in lead roles. The story of L'ultimo bacio revolves around Carlo, a thirty-year-old man who is going through a midlife crisis. He has a steady job and girlfriend Giulia who loves him too, but despite his seemingly comfortable life, he feels like he is missing out on something. He is not happy with the prospect of soon becoming a father, and can't shake the feeling that his youth is slipping away. The cinematography and lighting are first rate. These stunningly gorgeous Italian thespians are made even more resplendent than previously imaginable. Gabriele Muccino directs the film and seems to make every single shot count. You could take any still-frame from this movie and have a photograph to hang in an art gallery.The film is about the power of love, loyalty, and friendship, as well as the complexities of modern-day relationships. L'ultimo bacio explores the difficult choices people make when they have to choose between settling down and living their wildest dreams. The movie highlights how the pressures and expectations of society can force people to make difficult and life-altering decisions. It must be a generational thing. The Last Kiss, a tale of thirtysomething males dithering between responsibility and the open road, is a likeable but fragile film, with little emotional depth. Very much of its time and place, the film is a superficial paean to Muccino's superficial contemporaries: the clean-shaven, financially buoyant, recreational-drug-using, mobile-phone-dependent generation of 30-year-olds which inhabit the smarter suburbs of metropolitan Italy at the beginning of the new millennium. There is a light comic touch about some of the dialogue, but Muccino labours rather too much to create plot mirrors and character contrasts. His story mechanics are in such need of oiling: we can practically hear the cogs squeaking.