Aldo Cazzullo (photo by Carlo Furgeri Gilbert).
dew the great Paolo Villaggio that a comedian cannot be “fucking”. Translated from his imaginative language, it means that when a man has the impression that women like the comedian a lot, he laughs less willingly at him or with him.
A comedian has to be a bit of a loser, or at least look like one. I don’t know if he’s really like that; but, for example, I’ve never found the lanky Walter Chiari, the great playboy, so amusing; while I found the corpulent Gino Bramieri amusing, with that big face that became all a smile.
Applying Villaggio’s rule to Massimo Troisi, whom women liked very much, no one should find him funny. Instead he is still today one of the most loved comic actors (but the term is reductive).
Evidently its mystery needs to be explored. He did it, seventy years after his birth, grandson Stephen Venususwith a movie – From tomorrow I get up late – based on the novel by Anna Pavignanohistoric life and work companion of Troisi.
The work imagines a different ending to the life of the late love, a second chance, a way to turn the switch on and off at will. The director managed to interpret the female notes of the tale, which brings out a male protagonist full of boyish nuancesof delicate fragility and selfishness to which a rejected heart, like that of the protagonist, often refers.
The book “From tomorrow I get up late” by Anna Pavignano (editions and/or).
A story that through the many details and the infinite pieces recovers an overall puzzle offering the ending that every woman would like to see or at least would expect. The conclusion is a piece of complete Neapolitan stylein which the numbers are an important element (especially the 3), with the noises, the colors and the wonderful chaos of Naples, a show in all its poetry and musicality.
An ideal hug, the one between Pino and Massimo. A dream, that of a new beginning, the return, the will to still have a chance to try again, to be able to give a last kiss to that still beating heart.
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