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How sad is this?

Brilliant and touching

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Gianni Amelio has always been one of the most interesting Italian film-makers. His silent movie compilation is the best thing about the wasted opportunity represented by the Turin film museum.The current production is not as imposing as OPEN DOORS or L'America. I can't honestly say I understand it. However it held my attention and I became engaged with Antonio Albanese it's leading man, who is better know in Italy. He's the traffic cop in FROM ROME WITH LOVE. The character's variety of fill-in jobs give us an intriguing cross section of Italian life and that's clearly the reason they've been shown. The personal story is another matter and the puzzling ending is unsatisfying. People who write about the film don't seem to be able to handle that.I'd watch it again if I got the chance and I thought it would give me a better handle on what Amelio wants us to take away from the film.Luca Bigazzi's 'scope images are as always impeccable and the score is best Euro film music.

"L'intrepido" has been a real disappointment. Touted as a delicate movie about the economic crisis, it is really a not-so-good movie with a great star - Antonio Albanese - whose constant presence and skill cover the many defects of a ill-written screenplay. Antonio, the main character, is a contemporary version of Charlot, someone who lives his honourable life without a job and a family (but with an ex-wife and a son), while not accepting any compromises with "evil". The idea may be good, but the actual story is badly built: what is the purpose of the exam? Is it only a pretext to introduce Lucia? In the first minutes, it would seem that this is the only reason of life for Antonio, who is enraged just once in the movie, when some kids start ripping his exercise book. But this element, like so many others, is left unresolved: the only thing that goes on is Antonio's smile. Many people have praised the good sentiments in the movie, but Chaplin and Capra had another kind of stamina. You need to be much more rational if you really want to encourage the expression of good sentiments on screen and among the public. All in all, the movie remains disappointing to the end, even if Albanese keeps giving us his warm, rich humanity, but this is perhaps the biggest regret. It is a pity to waste the talent of Antonio Albanese on such a half-baked story.