LA VOGLIA MATTA
1962 – DCP – color – 110’
Direction: Luciano Salce
Screenplay: Castellano e Pipolo, Luciano Salce from the short story Una ragazza di nome Francesca by Enrico La Stella
Cinematography: Erico Menczer
Editing: Roberto Cinquini, Gisa Radicchi Levi
Set design: Nedo Azzini
Music: Ennio Morricone
Costumes: Giuliano Papi
Cast : Ugo Tognazzi (Antonio), Catherine Spaak (Francesca), Gianni Garko (Piero), Franco Giacobini (Carlo), Fabrizio Capucci (Enrico), Diletta D’Andrea (Maria Grazia), Jimmy Fontana (Jimmy), Be?atrice Altariba (Silvana), Oliviero Prunas (Veniero), Margherita Girelli (Marina), Lilia Neyung (la “cinese”), Luciano Salce (Bisigato), Corrado Pantanella (Flavio), Stelvio Rosi, Carlo Pes, Donatella Ferrara, Maria Marchi, Edy Biagetti
Producers: Isidoro Broggi, Renato Libassi
Production: D.D.L., Lux Film, Umbria Film
The entire restauration was done in 4k by CSC-Cineteca Nazionale in collaboration with Compass Film S.r.l., which made available the scene and column negatives. All the processes were carried out at the Studio Cine S.r.l.
One weekend Antonio Berlinghieri, a forty-year-old industrialist from Milan, is driving his Alfa Romeo Spider to Pisa to see his son. On the way, Antonio encounters sixteen-year-old Francesca, who asks him for some gas for her friends’ car, which has broken down. Partly for fun and partly because he is attracted to Francesca, Antonio joins up with the group of teenagers, who invite him to spend Sunday with them in a chalet by the sea. Here Antonio tries to bridge somehow the differences in mentality and tastes due to age, but finds himself always on the brink of ridicule. Deep down the businessman is prey to bourgeois hypocrisy and struggles to understand the uninhibited behavior of these youngsters, although at the same time he is fascinated by it.
THE DIRECTOR: Luciano Salce
Born in 1922, he was a director, screenwriter and actor. After surviving the labor camps in Germany, he completed his studies at the National Academy of Dramatic Arts and began working in the radio, cinema and theatre. He directs a couple of films in Brazil, then made his directorial debut in Italy with Hercules’ Pills, soon followed by The Fascist, before turning towards the adult comedy of Tognazzi’s career and Morricone’s debut, Crazy Desire and The Hours of Love. His major hits, all belonging to a genre focused on biting comedies of manners and politics, include: Medicine Italian Style, White Collar Blues, Duck in Orange Sauce, Fantozzi 2, Come on Idiot.