Não Toque na Mulher Branca

I really like Marco Ferreri's films, very much, but I do not like this movie. It's uninteresting, banal, boring script. The four great actors from the masterpiece "La Grande Bouffe" (1973), Marcello Mastroianni, Michel Piccoli, Philippe Noiret and Ugo Tognazzi, are also present here but, working only with no-value replicas, do not make the film worthy of interest. The presence of several other great actors such as Alain Cuny, Serge Reggiani, Paolo Villaggio, Franco Fabrizi, does not change anything for the better. However, the performance of Michel Piccoli (the only one still alive of all), which looks very commercially in the role of Buffalo Bill and succeeds a charming American accent, is worthy of admiration.

Don't Touch the White Woman is a very strange and surreal film for the average person...it basically tells the story of General George Custer's defeat at Little Big Horn. It tells it as a semi-costume period piece in the midst of modern Paris, though...centered on a large construction site.

Mastrianni is wonderful as Custer, and Deneuve is great as always, but I think Ugo Tognazzi steals the show as the Indian scout...this is such a shocking role for all those who only know the actor through La Cage Aux Folles.

Marco Ferreri's "Touche pas a la femme blanche" - "Don't Touch the White Woman" in English - could easily be an extension of "Little Big Man" or a movie version of "A People's History of the United States", although it came out a few years before Howard Zinn published his famous book. It portrays the US government's crusade to exterminate the Indians, reenacted in 1970s Paris (complete with references to Pres. Nixon, and even Watergate). Marcello Mastroianni makes a chilling Gen. Custer, but Michel Piccoli is quite funny as Buffalo Bill: he sounded as though he was trying to put on an American accent while speaking French!

I read about how Marco Ferreri played a major role in the changing Italian cinema of the '60s and '70s. Certainly this film shows that. Specifically, as the United States had been taking a different look at its own history - our own glasnost and perestroika, you might say - Europe was also challenging the American cultural myth (no surprise there). I definitely recommend the movie. Also starring Catherine Deneuve and Ugo Tognazzi.

Filmed in Paris, not Rome. And more a critique of American politics than Italian. They used the building site from the demolition of the traditional Les Halles district in the heart of the city as the location for their wild, wild west - including the huge pit that is now the Les Halles shopping center (and cinemas, swimming pool, parking lot, etc). Inspired! All the scenes are set in and around the building site. Custer makes his last stand, horses gallop past modern cafés, the familiar Parisian architecture rings the pit, and a Pinkerton agent Pinkerton himself) walks around in modern dress. Throw in every leading French actor of the era (some of them still around) as both cowboys and Indians and you've got the makings of a fantastic farce.

Leave it to Marco Ferreri to decide to make this film in the pit that was created out of what had been Les Halles food market in the center of Paris. This was the site where the Pompidou Center was erected and now stands proudly, as though it was always had been there for all these years.

The director deals with a page of shame of American history as George Custer prepared, and later battled, the Indians in the battle of Little Big Horn that was his last stand as a military man. Where Marco Ferreri succeeds is in mixing the plot of the film with every day life of Paris in which most people didn't even bat an eye watching the invading Americans.

Mr. Ferreri was lucky in getting some familiar faces to play in his film. Thus, Marcello Mastroianni is seen as General Custer. Catherine Deneuve played the object of the general's affections. Ugo Tognazzi is great as Mitch. Michel Piccoli is bigger than life in his take of Buffalo Bill. Philippe Noiret, another excellent actor, plays Gen. Terry, and Serge Reggiani is seen as the mad Indian who runs in and out of most scenes wearing a loin cloth to cover a little bit of his nakedness.

The idea of staging this film in a construction site works well with the action in the movie thanks to a revolutionary idea by Marco Ferreri.