La terrasse

Ettore Scola has made at least two great films, C'eravamo tanto amati and Une giornata particolare. But this time he got carried away. It's not enough to put 20 great actors in a room to end up with a masterpiece. Call it self- indulgent, call it intellectual masturbation, I call it boring. Sorry, Ettore.

"During the dinner sequences, it is like operating an ensemble piece on a dime, DP. De Santis adroitly interposes long takes among various characters, discreetly listens to their conversations, or follows the kerfuffles, but there are no Altmanesque flourishes, which can concatenate all the fluid movements into a delectable visual orchestra. Here, Scala is more keen on building the signs of the times than showing off his sleight of hand, and juggling between studio and location shooting, LA TERRAZZA is an oddity that looks old school but attempts to say something au courant (the self-reflection of a society burdened with bureaucracy, commercialism and hypocrisy), therefore, it feels often luxuriate in the inner circles' own woes and melancholia. It is so cruel to see Mastroianni's Luigi the journalist, gets a cold shoulder from a young girl, the erstwhile Italian dreamboat now has been reduced to a gabby uncle figure that is so detached from the younger generation (a metaphor of Italian cinema's glorious days are on the ineluctable wane)."

keep reading my review on my blog: cinema omnivore, thanks

We follow five friends at the same party. A writer, a producer, a director, a politician and a journalist. There they meet new and old flames and quarrel a bit. All are experiencing an intellectual and emotional crisis.

I loved the many subtle symbols in this film. For instance, the young girlfriends; Sergio who is not eating; the crisis of being a leftist ('I'm much more left-wing than you!'); the success of women.

Even better is Scola's mockery with intellectualism. As you sometimes hear at parties people say: 'Mannerism is out of fashion', and you haven't got an clue what the purpose is of this comment. Every character here thinks himself as being witty, except the producer, and it is precisely him who produces a dramatic masterpiece that is praised by the intellectual elite.

Scola portrays disappointments beautifully - it is seen between the lines, as it was as well in Brutti, sporchi e cattivi. So, I highly appreciated this film, but you have to bear in mind it is a film of almost three hours. A perfect film for a rainy Sunday.

The movie's status as a cult classic definitely makes sense to me now. It's a very satirical and thorough look at the italian elite of intellectuals and artists, all of them very narcissistic, pretentious, self-pitying, emotionally unstable, in a constant internal state of decay, brandishing political theory without actually applying it, fighting unsuccessfully against the world of the 80s and capitalism and profit. All the main characters are tragic, and their awareness of their own pathetic nature makes them even more unhappy. They're all men who use women or demand their attention and their love, they try to find happiness where it doesn't belong. The theme of the movie is the humorous existential loneliness of the self-aware bourgeoisie. I have some complaints, like the fact that the movie is a bit long for my taste, and some of the 5 episodes really drag. The actors are almost all pretty good, the final raging monologue of Mario is amazing. The humor holds up pretty well, and it's always interesting to see how an older generation of creatives saw themselves. Overall, not very digestible, but fine as an intellectual and thought provoking portrait of the 80s artlife.

Adorable, intelligent and politic driven movie. The best Italian director ever commands great actors and conducts the audience through a journey of passionate and bitter fellows who dare to fight for their beliefs.

In La Terrazza there are some amazing speeches - which I don't recall exactly - about every human being's right to happiness and love.

Maybe I liked it so much because I'm already a big fan of Ettore Scola. I also recommend his masterpieces "C'eravamo Tanto Amati" (the best Victorio Gassman performance) and "La Cena" (the last Gassman appearance).