#1974 Intrepido

[tina-aumont]

Anita e “Coso” part I/III

"L’Urlo" arrived on the screens at the time of summer depression, when the cinemas are empty for the heat and the few spectators are part of the desolate, abandoned, loneliness in the city, so - absurd law - you have to punish them with film that do not come out at Easter or Christmas, or ugly, or difficult, or incomprehensible, or eccentric. This is part of the last category. It is a film eccentric, unusual, intelligent, revolutionary, without a real story, but with a warp, woven capriciously in a plot of dreams. Let's say that it overflows with modern poetry and painful satire. Let's say that at some point - if minimally one loses the thread - remains obscure and there is no way to find the explanation in the next steps. Let's say that it is a difficult work, but it is a duty - even if it is not intended - to affirm what happens at the end of the film, that is to say that you leave the cinema with a sense of liberation.

Photo: Tina Aumont, here in the role of the main character of "L’Urlo" (Anita), after escaping a police raid meets "Coso". They flee by bus and will end up scandalizing everyone, starting to flirt. The passengers, for the disgusting, will eventually burn the bus.

By Franco Nebbia.

Scans and caption from Intrepido magazine, 29th August 1974.

Although this film was filmed in 1968 it was censored for some years in Italy, it was premiered in September 1974...

[tina-aumont]

Anita e “Coso” III/III

Gigi Proietti (Coso) and Tina Aumont (Anita) divide the screen, he with his irrepressible grit of modern actor and the she with her turbulent beauty in a long journey in the dream, during which all that happens can happen in a film, almost as if the author wanted to redo the verse to a hundred famous films and mock them, as in a collage of young tales. It is to young people that Brass means many things, without making morals, libertarians to anarchism, permeated with impropriety, blasphemous under the skin, revolutionary in depth and especially young at heart, recklessly looking into a continuous swing of the past and future, unpleasant and sweet. 

Photo: Tina Aumont with Gigi Proietti. The young prestigious actor shows off all his acting qualities, the comic key and the dramatic one come together in the various moments of the film that offers him magnificent opportunities for acting. 

By Franco Nebbia.

Scans and caption from Intrepido magazine, 29th August 1974.

[tina-aumont]

Anita e “Coso” II/III

Well, who knows how many contemporary essayists could draw, from the careful study of this film, motivations to write more volumes, psychologically analyzing the author and the characters, looking for the Freudian implications and sudden returns of past themes, as in a symphony, to which we do not ask to tell an illustrated story, but only an hour of assorted emotions: chills and smiles, rage and serenity.

Photo: Towards the end of a nonexistent story, Anita and "Coso" find themselves in a fast-running car. Anita will die. "Coso" could be imagined as a modern, nonconformist Garibaldi.

By Franco Nebbia.

Scan and caption from Intrepido magazine, 29th August 1974.

[tina-aumont]

Beautiful portraits of Tina Aumont taken by Elisabetta Catalano in 1974.

Scans from Italian magazines Il Monello from 9th November 1975 & Intrepido, 17th October 1978.