Messa è finita, La (1985)

Regisseur:

Nanni Moretti

Drehbuchautoren:

Nanni Moretti (writer)
Sandro Petraglia (writer)

Premierendatum:

27. Dezember 1991 (Spain)

Genre:

Komödie

Plot:

Don Giulio, giovane prete romano, ritorna a casa dopo essere stato parroco in un'isola del Mar Tirreno ed è destinato ad una chiesa di periferia...

Plot Keywords:

Catholic | Faith | Priest

Filmpreise:

2 wins & 1 nomination

Nutzerkommentare:

Good movie: angry and surprising

Besetzung

Nanni Moretti	...	Don Giulio
Ferruccio De Ceresa	...	Father of Don Giulio
Marco Messeri	...	Saverio
Enrica Maria Modugno	...	Valentina
Dario Cantarelli	...	Gianni
Giovanni Buttafava	...	Lawyer
Luisa De Santis	...	Lucia
Pietro De Vico	...	Friar
Eugenio Masciari	...	Antonio
Vincenzo Salemme	...	Andrea
Roberto Vezzosi	...	Cesare
Margarita Lozano	...	Mother of Don Giulio
übrige Besetzung in alphabetischer Reihenfolge:
Manfredi Aliquo
Francesco Di Giacomo	...	Federico
Mauro Fabretti	...	Simone
Antonella Fattori	...	Astrid
Inigo Lezzi	...	Plumber
Carlo Mazzacurati
Luigi Moretti	...	Judge
Bianca Pesce	...	Silvia, la sposa
Carlina Torta	...	Arianna
Mariella Valentini

Alternativ:

The Mass Is Ended
Messe ist aus, Die (Bundesrepublik Deutschland) [de]

Länge:

94 Min

Produktionsland:

Italy

Sprache:

Italienisch

Farbe:

Farbe (Eastmancolor)

Tonverfahren:

Mono

Firma:

Faso Film S.r.l.

Good movie: angry and surprising

I came to Nanni Moretti from his wise and witty later movies _Caro Diario_ and _The Son's Room_. So in _La Messa_ I was surprised to see a bitter, angry, and quite selfish Moretti in the role of a suburban priest who seems--much like the psychoanalyst of _The Son's Room_--utterly incapable of helping those who put themselves in his care.

There's lots to like in this movie: the somewhat decrepit but nonetheless lovely settings around Rome, the nods to other great Italian movies (Moretti, in his cassock, playing soccer with the school kids, calls to mind Rossellini's _Rome, Open City_), the intense and largely convincing story. I found particularly compelling a courtroom confrontation involving a judge, a defendant, and Moretti's priest as a witness. I was, on the whole, moved by Moretti's take on the priest's dealings with his brothers-in-arms from what were presumably their days as leftist activists.

On a final note, people are always comparing Moretti to Woody Allen. I don't see why. Their movies have almost nothing in common. I have never seen Allen as anything more than a second-rate standup comic, or as a caricature. Moretti, on the other hand, is a human being.