Ciao maschio

You know how foreign movies have the reputation for being extremely weird and full of naked people? Well, if you've ever seen a foreign movie from the 1970s, you know why. They're weird! Everybody takes their clothes off!

In Bye Bye Monkey, a bunch of disconnected stories are all joined together. And everyone takes their clothes off. An independent girls' theater troupe discusses whether or not it's possible for a man to be raped, then decides to put the question to the test. James Coco makes wax replicas of Ancient Rome, then decides to make the faces likenesses of American presidents. Geraldine Fitzgerald longs for love she's never experienced. And finally, Gérard Depardieu finds a baby monkey on the beach and adopts him. Marcello Mastroianni tags along in various scenes, but it's not really clear why, and Abigail Clayton falls in love with Gérard, even though he's never without his pet monkey and constantly blows through a metal whistle when he breathes. Yes, he's gorgeous, but nothing in this movie makes sense.

In an inarguably adorable scene, Gérard tries to leave the baby monkey in the park and walk away. The monkey shrieks and runs after him, then climbs up his body to nestle in the crook of his arm. In the next scene, Gérard gives the monkey a little bed, and you can see the animal smiling. That's about as cute as it gets. The rest of the movie is either weird or upsetting, but if you really like 1970s foreign movies or have never seen one, this is a perfect example. Ironically, the entire movie is spoken in English, and Gérard speaks more English in this movie than he did in Green Card!

Kiddy Warning: Obviously, you have control over your own children. However, due to nudity, graphic sex scenes, and an upsetting scene involving an animal, I wouldn't let my kids watch it.

Marco Ferreri directed some of the most unusual films of the 1970s - from the castration love story "La Derniere Femme", to the gluttony fuelled orgy of "La Grande Bouffe". Bye Bye Monkey might not match those films for quality or shock value, but it most definitely surpasses them in the weirdness stakes.

Bye Bye Monkey is a rare exercise in cinematic existentialism that does not drown in its own pretence. In fact, the film's greatest achievement is that it somehow manages to be entertaining despite having a plot which basically involves Gerard Depardieu walking around with a monkey. There are, of course, detours from this central premise and they are just as perplexing. Ferreri offers a Roman wax museum subplot, feminist dancers interested in experiencing rape, a massive gorilla corpse/sculpture and a love scene between a young Depardieu and a then 65 year old Geraldine Fitzgerald. Did I mention that Gerard Depardieu incessantly blows a whistle throughout the film?

I'm really not sure what the film's deeper meaning is intended to be, assuming that it has one at all. Bye Bye Monkey contains so many ideas and passes comment on so many issues that I gave up trying to interpret them all. However, Ferreri's favourite theme of emasculation is unmissable in everything from the dancer rapists, to Luigi's sexual frustration and the birth registrar's comments on dressing Cornelius in girl's clothing. The film is never weighed down by its philosophy and there is just as much enjoyment to be had from the surreal imagery as from the film's ambiguous subtext.

Gerard Depardieu was doing his best work in the 1970s and he turns in another muscular performance as Lafayette. I can not imagine another major actor who would accept this role in the first place, let alone approach it with the conviction that Gerard does. Marcello Mastroianni is also great as Luigi, as is Geraldine Fitzgerald in her most controversial role. However, it is James Coco who almost manages to steal the show with his outrageously over the top performance as Mr Flaxman. As good as the actors are, this remains Ferreri's show and his direction is as stylish as ever.

Bye Bye Monkey is a real oddity of the 1970s. Ferreri was a truly unique director and this may be his most individual, if not most convincing, work.

Is it another world, or our world gone mad? Ferreri has quite an imagination, especially his use of juxtaposition: a rotting carcass of King Kong, a wax museum where James Coco reenacts parts of history, and an underground society where rats prevail. Depardieu, who's lines are badly dubbed, manages to get through this yarn uncomfortably gripping a chimp where he found beside the dead Kong. Mastroianni is always at his best, altho this time presenting a more cartoonish characterization. However, despite the exotic idiosyncrasies, this film can be rather dull at moments. Nevertheless, I enjoyed a large percentage of this movie, ad hominem the ambiguous finale which may help clarifies the film's bizarre symbolism. Watch this one on a rainy day.

Strange, and it has some interesting bits, but it's dull and nonsensically plotted. Gerard Depardieu and Marcello Mastroinanni make asses of themselves, and Gail Lawrence, better known under her porn name, Abigail Clayton, is naked for about 50% of the film. Depardieu plays a boy toy in New York City. One day his friend, played by Mastroianni, is walking along the beach when he discovers the corpse of King Kong, whose orphaned baby he gets Depardieu to adopt. The themes involve the ever-changing gender roles, and this could have been very interesting. Unfortunately, it has no real plot to speak of, and it just meanders from weird scene to weird scene. Sometimes, the visuals are quite haunting, especially when the characters are on the beach with the New York cityscape towering over them and the giant ape corpse dominating the bottom of the frame. 5/10.

The premise quite catches one's attention, as well as the attachment of esteemed actors, not to mention the fact that the title was received well at Cannes. As the film first begins one is perhaps indirectly reminded of other creative oddball works, like 1973's 'La grande bouffe' or 1982 bizarrerie 'Liquid sky,' and one carries high hopes for what filmmaker Marco Ferreri, and/or co-writers Gérard Brach and Rafael Azcona, might do with the concept at large or with the setting. However, as the length draws on, the idiosyncratic scene writing increasingly seems to be part of not a wildly inventive narrative, or a presentation with something big and important to say, but a tapestry of incohesive randomness that goes nowhere in particular and says nothing substantive. There are many kernels of ideas scattered throughout, kernels that could have been latched upon to shape 'Bye bye monkey' (also known as 'Rêve de singe' or 'Ciao maschio') into something significant and entertaining. What it feels like, instead, is scene after scene of Christopher Walken's infamous few lines in Martin Brest's 2003 misfire 'Gigli' - quizzical, baffling, and nonsensical. The difference is that despite its outward appearance the latter scene actually does make sense in context, whereas so far as I can determine, there's ultimately not truly anything to be gleaned from this.

There is no actor herein who does not suffer from that perplexing tenor, and between young Frenchman Gérard Depardieu - well before he would be accused in real life of sexually assaulting many women - and Italian icon Marco Mastroianni in his supporting part, I don't know who bears more of the brunt of it. The dialogue fails just as surely as the scene writing to produce anything enduring and meaningful, and no few instances of nudity rather just raise a skeptical eyebrow. I suppose we could commend the cast for embracing the inanity and bringing it to fruition, though I don't know why we would, and the same goes for Ferreri with his direction. The highest compliments I think this is likely to deserve are for its production design, art direction, costume design, hair, and makeup; the harshest criticism definitely belongs to Ferreri, Brach, and Azcona as writers, primarily for the lack of any cogency or real, discernible purpose, but also for passing, unnecessary expression of regressive social values (e.g., here a homophobic slur, there a flummoxing line of toxic paternalism and gender enforcement). In no time 'Bye bye monkey' becomes a picture that we continue to watch only out a sense of commitment, for it bears no strength of its own to hold our attention or drive engagement. As far as I'm concerned these two hours are a waste for any given viewer, and all the time, energy, and resources that were devoted to the production would have been better off going elsewhere; it's well made by contemporary standards, but so what?

I guess I'm glad for those who get more out of this movie than I do. I just don't know how they manage to do it. I sat with no foreknowledge or expectations but anticipated enjoying it in some measure; instead it was so dull and trifling, squandering any possible potential, that it put me to sleep. After I awoke and continued watching, I think continuing to sleep would have been the better use of my time. Whatever it is you want out of this flick, may you find it, but in my opinion you should really just watch something else in the first place.