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I went to see this movie mainly because it was shot in surroundings I know very well (the surroundings of Varese, in the north of Italy)and was more curious than interested. In the end, I had to say I saw a good movie, with a good photography but also a convincing story, based on an American novel, but fit for a movie which lies between a thriller and a social portrait, showing some evils of contemporary Italy. The splitting of the story into four chapters, seen from the point of view of three characters, plus a final chapter, may not be that original but works effectively and keeps the viewer's attention alive for almost two hours. So, considering the mediocrity of Italian contemporary cinematography, it is a good product and I also appreciated the performances of the whole cast, with Fabrizio Bentivoglio and Fabrizio Gifuni at their best. In my country the movie was criticized for pointing the finger at the north of Italy as the source of contemporary decadence: on the whole, besides its ideological orientation, I found it more entertaining than socially committed or politically sided.

Lately I have been watching lots of movies from the book adaptation and here it comes another one. This time an English language novel transformed into an Italian movie. But what I heard is that a few changes were made to bring the Italian flavor. Well, what could I say more, if you know the director you will say he's the right person to make it happen and he did excellently. Recruited the best cast and extracted best out of them.

The story of the two families narrated in the different streams when a cyclist got hit by a car on the Christmas eve. So the question has been asked, how did it happen? And who did it? The characters from two families begin to expose their role on that accident night revealing who did what. Dino, a realtor sees an opportunity to get into a big earning league so he decides to invest a large amount on it. Followed by the recession he has to face the reality of business that puts his life on a stake. Carla, the wife of a multimillionaire gives a financial support for the struggling company. Later she has to let it go when her husband's business begins to fall apart. Serena, the daughter of Dino and Massimiliano, son of Carla are the close friends. Their story follows where one of them finds their true love and another one get into sadness for some reason. When all these three episodes concludes the final chapter begins to unveil the truth with a twist.

''I know it does not look much like you, I tend to make things uglier.''

The story was told in layers which were divided into the four chapters. The story that happened between the particular timeline was repeated again and again with another character's perspective and with different camera angles till truth reveals in the final chapter. As it's still developing the opening was confusing which was the first chapter. Without holding-up in development, it straight goes with the main intention of the theme. If you pass that then the following segments interest you to make you guess the possibilities the suspense it hold. Kind of impossible to predict because of the introduction of the related characters to the particular incident consumed by the three quarters of the film. Which mean twist comes at the latter part which was really a good one. Each character that comes in the different episodes were incredible. Like, for a moment it was unhooked from the rest and centralizes that specific story stream, but the common event holds the story all together. I liked all the main characters, but the character Serena steals the final show. The role who played it was a new face and I kind see a great career ahead of her. (God, she's kind of attractive, hope its not me the only one to say that.) This was one of the recent best neo-noir. If somebody asks, I definitely recommend it.

I have always been struck by the sentence in F. Scott Fitzgerald's THE GREAT GATSBY (1925) used to describe Tom and Daisy Buchanan as "destructive" in the sense that they have a lot of money, but that renders then totally indifferent to human suffering, especially that of the eponymous hero.

Through the ingenious of three interlinked stories, each depicting the same incident, Paolo Virzi's film achieved a similar effect. A man is knocked off his bicycle on Christmas Eve by someone driving an SUV; the action leading up to and including that incident over the previous six months is narrated from Dino Ossola's (Fabrizio Bentivoglio) perspective, from that of his daughter Serena (Matilde Gioli) and that of their rich acquaintance's wife Carla (Valeria Bruni Tedeschi). The story is relatively straightforward, involving Carla's husband Giovanni (Fabrizio Gifuni), her son Massimiliano (Guglielmo Pinelli), and a young man wrongfully accused of drug possession who has received psychiatric counseling (Gigio Alberti).

What we learn from the narrative is how Giovanni lives an affluent existence that renders him totally insensible to the sufferings of others. He believes that money can buy anything, even justice. We see him mostly in interior sequences, in a rich-looking house surrounded by guests. Carla believes there is more to life than simply money, but apparently cannot countermand her husband's will. Money produces servility. Massimiliano has the same indifference to others as his father; so long as he has the chance to sleep in his own bed and enjoy driving his new "beast" - the SUV involved in the accident - then his existence is fulfilled.

Morally speaking. Dino's existence is not much better, as he invests €700,000 in one of Giovanni's schemes and loses virtually nine- tenths of his capital. In revenge he tries to blackmail Carla for €900,000 plus a kiss; the fact that this scene takes place in a theater underlines the theme of the film, that these people are merely performing in life, rather than trying to understand its vicissitudes.

In plot-terms, HUMAN CAPITAL can be approached as a murder-mystery, as we are led down various blind alleys until we discover who actually killed the cyclist. In thematic terms, however, the film is far more preoccupied with showing the depths to which people can sink in their attempts to avoid confronting the truth about their existences and live instead in their financial bubbles, both mental as well as tangible.

"Human Capital" (2013 release from Italy; 110 min.) brings the story of two families, whose fates are so different yet intertwined. As the movie opens, we see a staff person bike home late at night after having worked at a big event of some sort. We also see a speeding SUV and the SUV appears to accidentally hit the biker, but doesn't stop. Whoa! Who was that? What just happened? After the opening credits, we are told we are "Six Months Earlier - Chapter 1 - Dino" and we get to know a number of characters: there is Dino, the real estate guy whose daughter Serena is dating Massimiliano, the son of a hedge-fund manager. Dino convinces the latter to let him buy in, but soon regrets doing so when the market tanks. To tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: first, this is the big screen version of American author Stephen Amidon's acclaimed 2005 novel of the same name. How often do you see a big screen adaptation of an American novel that is made abroad, rather than in the US? Director Paolo Virzi transposes the story from Connecticut to Northern Italy very nicely, and along the way adds other elements to make this his own story. Second, the movie works on different levels: there is the immediate question as to what exactly happened at that hit-and-run late night accident (?). Then there is the social commentary about today's society and the influence of money on people (keep in mind: this is Italy, where they have been going through a Great Recession for YEARS now). The movie is split into 4 chapters, and we rehash more or less the same events from different people's perspectives (Dino, Carla, Serena). It's a technique that has been used before, but when executed well, as in this movie, it elevates the movie, as you discover new details in each new perspective of the same events. Last but not least, the movie features a great ensemble cast (there are about 7 or 8 key characters to keep track of). Bottom line: this is a movie that caught my attention from start to finish.

This movie is the May, 2015 release of Film Movement's on-going DVD Of the Month club. No idea why a 2013 release only now gets exposed to US audiences but better late than never I suppose. As always, the Film Movement DVD comes with a number of bonus materials, including an okay "making of", but far better is the bonus shortie. This time we get "Job Interview", an excellent 9 min. shortie from Germany about a woman (Lisa) being interviewed by another woman for a job. Just watch! Meanwhile, "Human Capital" is a worthwhile addition to Film Movement's ever-growing library of foreign and indie movies. HIGHLY RECOMMENDED!

In the closing moments of this intricate drama, "Human capital" is defined as an insurance industry term, referring to the way damages payouts are calculated upon death, partly dependent on the individual's "emotional bonds". But the phrase more broadly refers to the way that the productivity and creativity of people can be converted into economic value. These definitions tell us everything we need to know about the themes at hand in Paolo Virzì's deconstruction of the Italian upper middle.

Human Capital is Italy's entry for next year's Academy Awards, and it's not hard to see why. It's a handsome, solid, complex, character-driven drama with an already award-winning performance from Valeria Bruni Tedeschi at its centre. She plays Carla Bernaschi, the wife of a businessman on the cusp of ruin. She persuades him to buy her a crumbling theatre – a pet project – as a gift. But it quickly becomes apparent that the theatre isn't economically viable. It'll have to be converted into flats instead.

The film is full of such soul-crushing moments. One needn't look far for metaphors. The various subplots revolve around a car crash (The Crash), and the fallout which threatens to ruin those at the bottom of the social ladder, leaving those at the top untainted. One needn't, also, look far for comparisons: Paul Haggis's award-friendly Crash, and the work of Alejandro Iñárritu, in the way that chronologically concurrent stories are shown one after another.

But Virzì's film is less aggravatingly worthy than the work of Haggis and less laborious than Iñárritu's English-language work. Indeed, the first of four "chapters" plays out with wicked dry humour, as Dino Ossola (Fabrizio Bentivoglio) desperately claws at the deal of a lifetime in order to break into the business elite. He's trying to seduce that wretched husband of Carla's, Giovanni (Fabrizio Gigfuni), but he only recognises the capital, not the humanity. It leaves Carla bereft; searching for meaning and affection. Meanwhile, both the Ossolas and the Bernaschis are bound by their kids. Serena Ossola (Matilde Gioli, resembling a younger Eva Green) knows something about the car crash, and the cost of keeping or revealing the secret is where the real meaning of the film's title will become known.

Virzì's style starts out dead pretty; all fairy tale lighting and wintry wonderlands, mirroring the illusory worlds the wealthy (or would-be-wealthy) inhabit. But as the cost of these characters' decisions become known, the camera leaves the tripod and the style gets grittier. Virzì is clearly aware of the inherent humour and horror in seeing the same events from multiple perspectives. While comedy gives way to tragedy, the twists and turns don't feel manipulative, and ultimately this is a story imbued with hope. In part this is due to the villain of the piece – the apparently heartless Giovanni – never being reduced to a mere monster.

The structure does mean that at times the chronology of events becomes muddled. It's not always completely clear how much time is supposed to have passed between scenes, leading to some false impressions of certain relationships. And, inevitably for such a tightly woven story, narrative contrivance and convenience is never far away. But then, what does one expect from a morality play? And a thoroughly modern one at that. This is an intelligent, accessible film, wise to focus on the most interesting characters in the room: those on the margins; those with most to lose. A fine contender.

The other reviews already mention a lot. What I absolutely liked was the subtleties, the reality. The characters were very well worked out (and acted!) and it was very convincing. I know- too well - the world on the hill. In general, things are always oversimplified or exaggerated. Not here.

Everything else (plot, script, photography etc) was also perfect - but this might well be the first time that I see wealthy characters so truthful.So layered. I cherished it.

You come to love most of the characters, with an exception of the father of Serena which I first fell sorry for, but during the movie the opinion gradually changed. Un baccio! Che cazzo. Even the mother of Massimiliano - so well acted! - you feel pity for her. And she looks so empty, so sad.

Greetings again from the darkness. The financial crisis-manslaughter-class warfare-thriller from novelist Stephen Amidon shifts from Connecticut (in the book) to just outside of Milan for director Paolo Verzi's look at class and character. A term used by insurance companies to calculate the value of a human life in settlement cases, "human capital" carries even more meaning in this twisted tale of greed and broken dreams.

After an opening sequence that shows an off-duty waiter getting knocked from his bicycle by a swerving SUV in the dark of night, the story is divided into chapters that provide the various perspectives of different characters affected by this hit-and-run. Dino (Fabrizio Bentivoglio) is a middle-class real estate business owner whose girlfriend (the too rarely seen Valeria Golino) is pregnant with twins, and his daughter Serena (Matilde Gioli) is dating a private school classmate Massimiliano (Guglielmo Pinelli) who comes from the upper crest Bernaschi family that is living the dream thanks to the dad's (Fabrizio Gifuni) hedge-fund success.

It's easy to see how the lives of these two families become intertwined, and how a few other characters are also affected, but the real joy here is in getting to know each through their own actions. Dino desperately wants a taste of the finer things in life, and risks everything by fraudulently obtaining a bank loan in order to buy into Bernaschi's hedge fund. His wife Roberta is a trusting and pure-hearted woman who accepts her place in society and warmly looks forward to being a new mom. Their daughter Serena proves to be the best judge of character and soon enough boots the spoiled kid Massimiliano to the curb, while connecting with the artistic and misunderstood Luca (Giovanni Anzaldo), though even Serena's moral compass shows its cracks.

Bernaschi is a smooth operator and the perfect face for a hedge fund so dependent on the financial collapse of its own country. His wife Carla (Valeria Bruni Tedeschi) is a lost soul … enjoying the perks of a wealthy lifestyle, but still holding on to her artistic dreams of youth. Life as a trophy wife is evidently not so fulfilling for those with their own aspirations. Their son Massimiliano, as you might imagine, is unable to live up to the expectations of his father, and frequently handles his perceived lack of parental attention by over-boozing at every opportunity.

This film was Italy's submission to the Academy in the Best Foreign Language category, but unfortunately did not make the final cut. It is rich in texture and remarkable in its ability to convey depth in so many characters. The basic story has some similarities to the film 21 Grams, in that we witness the many ways in which people handle crisis. In this case, the mystery of the initial sequence is left unsolved until near the end, but there are so many personal "fork in the road" moments, that solving the case of the cyclist death somehow doesn't monopolize our thoughts.

Excellent acting throughout allows us to connect with each of the key characters, and especially worth noting are Valeria Bruni Tedeschi and Matilde Gioli. Ms. Gioli is a newcomer with a bright future. She brings believability and strength to a teenager role that would more typically be over-the-top or one-dimensional in the hands of a lesser actress. Even more impressive is the performance from Ms. Bruni Tedeschi who perfectly captures the heartbreak of a woman living a life others can only dream about, while her own dreams are but shadows from the past.

With source material from a U.S. novelist, and subject matter involving the 1% and crisis of conscience, it's not difficult to imagine an American remake, but this version is highly recommended for those who enjoy a multi-faceted dramatic thriller.

Unconvincing acting, ridiculous plot, how on earth it was rated 7.3 on imdb? Do yourself a favour and skip this crap.

Although not always for people involved or those who actually want to make a lot of it. Then there are others who just don't care about it (having a lot of it might add to that secure feeling of course). This movie is about getting rich, about getting into families, about greed and about human behavior in general.

In the beginning I thought this was going to be simple. And in a way I guess it is simple. But the way the movie works (the structure, the backtracking, the seeing things from a different perspective and so on) could and might suggest otherwise. You might feel a bit annoyed seeing a couple of things "twice", but in the grand scheme of it all, it will make sense in the end ... although some decisions are so bad, you do wonder why they were taken in the first place ... still nicely told.

After working at a private school party in a small town in Italy on the Christmas Eve, the waiter Fabrizio (Gianluca Di Lauro) is riding his bicycle home. Out of the blue, the driver of a SUV hit-and-run the waiter and leaves him seriously injured on the road. The ambitious real estate agent Dino Ossola (Fabrizio Bentivoglio) drives his daughter Serena (Matilde Gioli) to the manor of her boyfriend Massimiliano Bernaschi (Guglielmo Pinelli). He snoops around and befriends his wealthy father Giovanni Bernaschi (Fabrizio Gifuni) expecting to get along with him and invest in his investment fund. Dino lies and hires a secured loan of 700 thousand Euros from Giampi (Gigio Alberti) to invest in Bernaschi's speculative fund expecting to have 40% a year in return, and disregards the risks involved. His guarantee is Sarana's house, where he lives with his second wife, the psychologist Roberta (Valeria Golino) that is pregnant, and Serena. Meanwhile, Giovanni's wife Carla Bernaschi (Valeria Bruni Tedeschi) sees an old theater that will be demolished and convinces her husband to buy the building and restore the theater. She invites her former theater Professor Donato Russomanno (Luigi Lo Cascio), who has a crush on her, to be the art director and gets closer to him. Things go awry when Bernaschi's fund flops and loses 90% of its value and the cyclist dies at the hospital. The police inspector finds that Massimiliano's SUV was responsible for the hit-and-run. But who was driving the car? The alcoholic Massimiliano? His girlfriend Serena? Or someone else?

"Il capitale umano" (2013) is a great film by Paolo Virzì with the mystery of who hit-and-run the waiter Fabrizio? The screenplay, divided in four chapters (Dino, Carla, Serena and Human Capital is very well written, with a perfect and concise development. The performances of unknown actors and actresses (Valeria Golino is the exception) are outstanding. The scum Dino Ossola is the representation of the worst in the mankind, a garbage as human being. The mystery of who killed Fabrizio is disclosed in the end. The ironic value of a human life closes this film with golden key. My vote is eight.

Title (Brazil): "Capital Humana" ("Human Capital")

The Human Capital is a different and strange thriller by Paolo Virzì. Characters are introduced in a new world characterized by unsustainable pressure of life, in which the characters alternate between what they are and what they would be. The general framework of daily life is lost sight of when it happens a fact that upsets all the characters, which will be connected by a thin line of conjunction. The main event is unfortunately not strong enough to define all the subject of the film. The film with his conclusion leave the viewer with a feeling of lightness failing to make the film the masterpiece that everyone says. I appreciate the kind of change faced by Virzi, he has created a film based on the thriller by leaving the style of comedy that so far he had faced.

Directed by Paolo Virzi based on the novel by American author Stephen Amidon this film is one of those that requires full attention so that the myriad aspects of individual views of a lifestyle and an incident seep in slowly.

The destinies of two families are irrevocably tied together after a cyclist is hit off the road by a jeep in the night before Christmas Eve. The intertwined cast of characters are Dino Ossola (Fabrizio Bentivoglio), a small-time real estate agent who dreams of bigger things, Serena Ossola (Matilde Gioli), his teenage daughter who dates a spoiled rich brat, Carla Bruneschi (Valeria Bruni Tedeschi – beautiful and brilliant as always), an actress who has given up her career to marry a wealthy businessman, Giovanni Bernaschi (Fabrizio Gifuni), her husband, a powerful player, Massimiliano Bernaschi (Guglielmo Pinelli), the troubled son of the Bernaschis', Roberta Ossola (Valeria Golino), a psychologist, Dino's second wife, Donato Russomano (Luigi Lo Cascio), a brilliant drama teacher who is enamored by Carla, Luca Ambrosini (Giovanni Anzaldo), a teenager frowned upon by others, and an anonymous cyclist. They are all shareholders of the human capital. The story is divided into four chapters, seen from the point of view of three characters, plus a final chapter. The score was written and performed by Amy Winehouse. In Italian with English subtitles.

A tough movie to watch but on made with sophistication.

I watched both of the movies in their original languages... I mean this one and the American version shot in 2019... both of them are from the same book, so obviously they are very similar, not exactly the same as many people told, but you can understand that only if you're really able to understand both of the languages... the subtitles don't count... I think that those who don't understand the language, well, they shouldn't judge this movie, even using the subtitles.... the review wouldn't make any sense. I appreciated more the American version than this one... IMHO is much better, but you have to decide for yourself. My advice for those who watched this version... if you don't understand perfectly Italian, don't write any review, a low score wouldn't be fair, this movie doesn't deserve a low score. The right score should start from 7, less of that would mean that you didn't understand enough.

'Il Capitale Umano' ('Human Capital') is an adaptation to screen of an American novel written by Stephen Amidon, adapted and directed by Paolo Virzì. The story in the book takes place in the US during the economic crisis of 2001 caused by the collapse of the hi-tech market. The action of the film is transferred to Italy in 2008, during the crisis caused by the collapse of the real estate market. Both crises have resulted in spectacular falls in stock market shares, with implications for the savings and financial situation of tens of millions of people, more or less wealthy. The problems are universal, and this kind of global crises have long time ago crossed the borders between states and the world's economies. The consequences however are local and personal. Starting from the American novel, Paolo Virzì managed to make an intelligent and exciting film, and also very Italian film.

While rewriting the novel for screening, Paolo Virzì uses a method that is not original but which he manages skillfully -presenting the same events from three different points of view belonging to different characters. The success of the screenwriter and the director lies in the fact that we find out not only the different details that have been put together which will clarify the story, but we also get to know better the psychology of the characters, belonging to different social backgrounds and different generations. Virzì manages to capture his attention through a fluent story telling and through the psychological and social depth of his heroes' characterization. Of course, the excellent acting of the whole team of actors only helps (with a special mention for Valeria Bruni Tedeschi, excellent here as well as in all the movies she is on screen).

'Human Capital' is the film of a crisis, and in this crisis each of the characters will be hit sooner or later. The quality of the film lies in the precision with which every character finds its place in the story for and in depth the description of their psychology. The Italian social environment, with its class differences, is excellently rendered. The localization of the story succeeded well to the director. Eventually each of the characters involved will manage to survive one way or another to the crisis. With one exception. It's a smart, well-written and well-acted film, the kind of which I would love to see as many as possible.

Sigh. I really wanted to like this film, too. It reminded me of "Badla" or "The Invisible Guest" in that it also involved a car crash that resulted in a cover up. ("Badla" is the Indian version of "The Invisible Guest"). Generally, I thought the all around acting was fine. The pace was fine and the cinematography was top notch. The ending, though, came with a THUD, a horrible abrupt THUD as if the filmmakers were behind schedule and had to tack on an ending, any ending, to satisfy the producers. In the end, it ruined what was otherwise a fairly tense thriller.

This movie is about the intersection of two families, one very rich and one merely middle-class, due to the relationship between their kids, and a mystery surrounding a car crash. It's mostly about family tensions and frustrated aspirations, but you've seen it all before, and and you probably were bored then. There is some nice footage of high-class Italian living, and Tedeschi in my opinion is generally worth watching, but many scenes are also ruined by Bentivoglio's bumbling character and the other revolting males in the cast. Even the nude scene with the young actress barely livens things up. That sounds blasphemous, I know, but that is just how dismal the romance subplot is. And the whole pile of rubbish collapses under the weight of the obnoxious timeline, as if telling a story out of order is enough to add cleverness to a dull and unoriginal plot.

An involving drama from Italy, relocated from someplace like Greenwich, CT (the setting of the novel it's based on) to somewhere near Lake Como—no problem there… It takes place during the mini–financial crisis of 1997, and it's one of those slightly tricky movies where the main characters each get a "chapter" to themselves, so the tone can vary from scene to scene.

First, an overeager investor plays up to a slick hedge-fund guy (Fabrizio Gifuni of "The Best of Youth") when their teenage kids start dating; this comes across like a broad Alberto Sordi comedy from the 60s. Next, the hedge-fund guy's regretful wife, a former actress (a great performance by Valeria Bruni Tedeschi), tries to reimagine her past while she tours a derelict theater, a haunting scene that recalls Fellini…

Finally, picking up from a trigger event in the opening chapter—a cyclist is run off the road by a speeding SUV—the investor's intense teenage daughter (a great performance by Matilde Gioli) tries to make everything right, and almost succeeds. This "chapter" is played pretty straight, and it moves right along. There's one of those moments where you may ask yourself, "Why would she…?" (the only possible answer being "Because if she didn't, there wouldn't be a movie!"), and the ending may seem a little rushed, but otherwise the pacing's pretty tight, and, unless you're a raving free-marketeer, the social commentary is right on the money. Interesting that movie plots can be outsourced now, along with everything else….

It would be easy enough, and appropriate, to dissect the picture inch by inch and assess all the great value herein. It would also require many more paragraphs and time than I have available to me. The characters themselves, and their relationships, are deeply complex with considerable depths, and plentiful secrets. The dialogue shared between them is biting and acrid, fueled by a maelstrom of emotions and underscoring the harsh drama. The scene writing packs a significant punch at any given time, even as the tone varies slightly in weaving the several threads together. And the narrative is frankly stunning, an assemblage of ideas and themes that are as old as civilization and as bleak as modern life, wrapped around a collection of converging circumstances that's unmistakably haunting. 'Human capital' is sad, and dark, but it's also utterly terrific.

The writing, direction, and sequencing and editing are impeccable and brilliant. I can scarcely imagine a more perfect telling of this story (making me all the more curious to see the 2019 American adaptation of the source novel). The cast is truly extraordinary, embodying their characters with sorrow, desperation, and fierceness that's at once wholly entrancing, and also uniquely off-putting for the grim profundity of the moments that evoke such acting. It hardly seems fair to pinpoint any one over another, but it must be mentioned that Matilde Gioli absolutely stands out with her portrayal of Serena - largely just because of the tremendous range and skills she illustrates, but not least of all because it was apparently Gioli's first-ever role as an actor. Absolutely incredible.

Hair, makeup, and costume design are unimpeachable. The production design is marvelous, a feast for the eyes, as are some of the filming locations. The soundtrack is a selection of one choice cut after another. I can only apologize - I hardly know what else to say. Count this among those films that explore such a depressing perspective on humans, our motivations, and our complications that it's both a super joy as a viewing experience, and difficult to watch as an empathetic being. The tale on hand is wonderfully compelling as several lives collide in sometimes jolting, sometimes moving ways, and in recognizing the expertise with which it's told, I'm a little aghast that it didn't receive still more international renown and acclaim. These may be some of the least descriptive paragraphs I've ever written, but I'm having as much difficulty finding the words to break down the excellence of this picture, sans spoilers, as I am picking my jaw up off the floor. Noting content warnings for alcohol, sex and nudity, and suicide, let alone the broad, dreary vibes the feature carries, I'm hard-pressed not to give this a blanket recommendation. If you have the opportunity to watch Paolo Virzi's 'Human capital,' then you should most certainly take advantage of it post-haste.