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Purely Joyful Movie!

Good story, Not enough for a whole film

After playing with our expectations, this turns out to be a very different sort of film.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Four individuals plan to eat themselves to death at a retreat surrounded by women and non-stop catering. Throughout the film each character philosophizes, make sexual innuendos, have sex, and gorge themselves in one vice or another in every scene.I've seen the film a few times and it remains enjoyable. Each character has their own traits and different ways of exiting life. Prostitutes come and go yet a female school teacher decides to join the horde until the very end.Sadean to the core, without the pessimism, their hedonistic lifestyles continue until their bodies (or mind) can no longer take it.A satire of course, but given the time it was filmed can probably be looked at in a few ways. Three of the four characters greatly enjoyed their time even when facing death. Half expecting to see them have a revelation or biting realization on life, instead they continued on the same path. Kind of hard to have a satire without some sort of tragic ending or change in plans of the patronized characters.Not a masterpiece but worth seeing. The film is even strangely erotic. I don't think it comes together as a full fledged mock of society either. I dare one male to deny he would not enjoy a weekend at a retreat such as this.

Well, I must say that this is a "strong" movie. It feels like a punch in the stomach. The way that the plot unfolds the characters, and lets them fall into the abyss of lust for flesh and material satisfaction is so powerful, that I could really feel the pain of that punch in my stomach after wards. The way that comedy and drama are constantly mixed on this film is extraordinary. I haven't seen anything like it, wanting to laugh, feeling disgust, sorrow and sympathy at the same time during a scene. And such scenes are all over this film.The symbolisms are plenty and obvious, some even to the most common of eyes. The archetypes, the stereotypes, the needs and the musts of western life are sarcastically exposed to the viewer.Personally, I think this is an all-time classic, a film that still has a reason and something to say, so many years later. My only objection, and the reason for not rating it as a 10/10, is that some scenes could be a lot shorter, but then again this is a personal point of view, as a realize that many people want or need the dramatization that a long scene with skilled actors offers.

Marco Ferreri's ultra film resembles the lugubrious "Salo",but "La Grande ..." is superior.A macabre story about five cranks (4 men and a Miss,who comes in later,as the men's guest) who lurk to eat.Possibly,a surrealistic joke (but I have my reservations about this kind of lexicon,since the worst critics,confronted with playful movies like "La Grande ..." or "Kill Bill",usually resort to such pointless rubbish,getting lost in mumbling "symbolical" interpretations, and keep speaking about ...semiotics,etc.,that kind of crap;but a movie is a show,not a textbook of "symbols",allegories,etc..).A story of brutal grotesque,including visually (e.g.,the sex scenes between Mrs. Ferreol and the four men).It is also a kind of a Marxian diatribe,a scabrous, contemptuous,even fanatical,but far-sighted Marxian satire,about consumerism,lechery,an obese Nympho and farts.Were it not true that style is the substance (the 2 are not like 2 ingredients),"La Grande ..." would be a perfect case of "Style Over Substance ";but since this idea is not acceptable,and the style is the substance,we must conclude that the style itself is flawed in this movie (because of this lack of content),though the technical skills of Ferreri are undeniable.It certainly is an impressive and thumping movie.A ferocious,savory,sarcastic,licentious,scathing and sardonic,and visually copious flick,"La Grande ..." coins many memorable scenes:(1) the morning tenderness between "Philippe" and "Nicole",one of the most bizarre love scenes ever;(2)the "Andrea" tart;(3)the funeral courtyard,packed with dogs and viands. Beautiful cinematography,and a lecherous show.It kind of grows on you,the more you think about it,the more you analyze it.Marco Ferreri was a master;in showing sexuality,some directors are constipated, banal and ridiculously solemn (Bertolucci,even ...Antonioni);others are concupiscent (Brass);Marco Ferreri avoids both traps.The characters are accurately molded.Mastroianni is handsome and well-dressed."La Grande ..." is a highly esteemed,far-famed,very acclaimed fetish,its reputation always precedes it.I must admit I expected something better;one of the movie's main strengths is the cast,although "La Grande ..." in no way can be called a Mastroianni,or a Tognazzi,or a Noiret film.(I do not regard it as an actor-movie,although the acting is flawless;it is certainly an auteur-movie.Not especially for those who want a Mastroianni movie,or a Tognazzi movie,but for those who look for a Marco Ferreri movie.I will not treat it,here,as a Mastroianni/ Tognazzi/Noiret/Mrs. Ferreol movie.Marco Ferreri uses them as a quintet,or as a five-heads monster)It is a dejected flick about excess, dehumanization, dementia,uncouthness,etc.,very a la Bataille/Blanchot.The excess is a Sade/Bataille/Blanchot/Baudrillard theme,taken over by Pasolini,etc..The treatment of this theme here succeeds in giving a grim,sardonic,sensual show,and a Marxist digression.(My mother,with whom I watch and/or discuss many movies,strongly dislikes both Piccoli and Noiret;she considers the later precious,ridiculous and affected.Anyway,Noiret performs richly in "La Grande ...".)

Just a fact that you can see four of all best actors in unusual ugliness in the same movie,magnifies the interest to the picture.Never before Marcello Mastroianni acted so different role like here. Another fact -that all of the four personages are named the same as the actors,leads to the thought,that the actors and the director Marco Ferreri divided the same fillings on a subject of modern hight society,its eternal chasing after satisfactory which does not have limits include moral,and inability to get away of it. Like in another Ferreri movies,here there is no need to think,just to follow,and understanding will come. The picture is very good example for "different" cinema,although the one plus four biggest stars of the Europe and for my opinion of the world.