Questa commedia musicale ambientata nel mondo della classe operaia newyorkese racconta la storia del viaggio di un marito verso l'infedeltà e la redenzione quando deve scegliere tra la sua s... Leggi tuttoQuesta commedia musicale ambientata nel mondo della classe operaia newyorkese racconta la storia del viaggio di un marito verso l'infedeltà e la redenzione quando deve scegliere tra la sua seducente amante e la moglie tradita.Questa commedia musicale ambientata nel mondo della classe operaia newyorkese racconta la storia del viaggio di un marito verso l'infedeltà e la redenzione quando deve scegliere tra la sua seducente amante e la moglie tradita.
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He's cheating on his wife in a way which isn't glamorous, just rather cheap and rather human. Susan Sarandon as the wife is really funny through all her love-hate. This family is dysfunctional, but in a way that's impossible not to like.
And it really is a musical. Sometimes. The characters burst out, miming to hit songs. That's show stoppers, but in the good sense of the word. It's all worth seeing.
Predictably, the film is just a fraction beyond offbeat. For starters it is a musical original songs and irreverent covers belch incongruously through the pithy dialogue and, while appearing slightly amateurish at times, in the main it is shot with a grimy panache.
The anti-hero is Nick Murder (James Gandolfini) - an overweight, chain-smoking construction worker who is married to Kitty (Susan Sarandon), but having a torrid affair with ballsy English slapper Tula (Kate Winslet). Nick has a trio of daughters (Mandy Moore precocious sex bomb, Mary Louise Parker punk and Aida Tuturro chubby mummy's girl) who pass the time knocking out grungey rock music in their back garden. Plot-wise, that's about your lot - superficially, the movie is about a family coping with adultery, but this is the Coen brothers, so there are always points of interest lurking in the mundane subject matter.
If you're going to have a stab at unconventional drama, it is best to arm yourself with some quality to beef up your oddballs. So Tuturro has called in favours from Steve Buscemi who raises more than a few chortles as Nick's philosophising co-worker, and an elaborately coiffed Christopher Walken who lends the fancy footwork he cultured on that Fatboy Slim video to some of the more surreal dance sequences. Weirder still is Eddie Izzard's new age church choir organist who distributes marital advice to Mrs. Murder in between belting out gospel hits.
A stellar cast then, and one cannot fault the promotional poster, which is so dominated by Winslet's mountainous, and, let's face it, almost certainly air-brushed breasts (no offence Kate) that it has been crudely censored on the London Underground.
The poster hints at Winslet being some sort of femme fatale, but she actually has few scenes to demonstrate anything other than jiggling, pouting and athletic sexual gymnastics. Much of her dialogue (delivered in an ambiguously mid-Pennines northern accent) is absolutely filthy dirty and is, if you close your eyes, uncomfortably evocative of Kathy Staff in Last of the Summer Wine. No wonder I had nightmares afterwards.
Winslet is following in the footsteps of Helena Bonham Carter, shrugging off the corset and the irritating "English rose" label by taking increasingly earthy roles. Serious, cerebral critics (their spectacles steaming up with every cleavage shot) will no doubt call this performance "brave", "challenging" or even "career defining". More realistically, she probably saw it as an ideal chance to prance around in hot pants and spout smut breathlessly into a telephone whilst trying desperately not to giggle. Either way, it's obviously some sort of trend among English actresses watch out for Keira Knightley in the new remake of Faster, Pussycat! Kill! Kill!
But beneath the silliness beats a mournful heart. The Coens' influence, though undeniably prominent, does not swamp Tuturro's serious side and the last third of the movie sees a significant mood change.
Buscemi, Walken and the quirky choreography take a back seat as Gandolfini and Sarandon muscle their way to the fore. It is an impressively gripping finale to a curiously disjointed film, and one which, on balance, just about tips it towards triumph rather than turkey.
The story is wafer thin and the musical set pieces veer dangerously between hit and miss. Frankly it's a bit of a shambles at times, but no less enjoyable for that.
7/10
Lo sapevi?
- QuizThe movie was delayed for almost two years because of James Gandolfini's commitment to I Soprano (1999).
- BlooperWhen Nick first comes into the house toward the beginning of the movie, his daughter's band is playing outside. When he shuts the front door, the music volume does not change. It should become more muffled with the door shut.
- Citazioni
Nick Murder: Would you give me one more chance? Please? I'll do anything! Anything! I'll give you anything! I love you. Maybe I don't know how to show it like they do in the movies or in books but I love. I have love to give.
- ConnessioniReferenced in Ebert Presents: At the Movies: Episodio #2.23 (2011)
- Colonne sonoreA Man without Love
Written by Barry Mason, Daniele Pace, Mario Panzeri & Livraghi (as Roberto Livraghi)
Used by permission of Universal - On Backstreet Music, Inc. (ASCAP)
Performed by Engelbert Humperdinck
Courtesy of Decca Music Group Limited
Under license from Universal Music Enterprises
Also performed by James Gandolfini (uncredited) with chorus
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Dettagli
- Data di uscita
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- Celebre anche come
- Романс і сигарети
- Luoghi delle riprese
- 13023 150th Ave, Jamaica, New York, New York, Stati Uniti(Nursery kids crossing street.)
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Lordo Stati Uniti e Canada
- 557.471 USD
- Lordo in tutto il mondo
- 2.935.242 USD
- Tempo di esecuzione1 ora 45 minuti
- Colore
- Mix di suoni
- Proporzioni
- 2.35 : 1