Conte de la folie ordinaire

Titre original : Storie di ordinaria follia

1981
16
1h 41min

NOTE IMDb

6,7/10

3,1 k

MA NOTE

Poet/lecturer Charles Serking awakens from his alcoholic haze long enough to take a bus back to L.A. and plunge into an orgy of drink and sexual depravity.

Lire trailer2:11

1 Video

28 photos

Drama

Le poète et conférencier Charles Serking sort de son brouillard alcoolisé pour prendre un bus et retourner à Los Angeles. Là, il se plonge dans une orgie de boisson et de dépravation sexuell... Tout lireLe poète et conférencier Charles Serking sort de son brouillard alcoolisé pour prendre un bus et retourner à Los Angeles. Là, il se plonge dans une orgie de boisson et de dépravation sexuelle.Le poète et conférencier Charles Serking sort de son brouillard alcoolisé pour prendre un bus et retourner à Los Angeles. Là, il se plonge dans une orgie de boisson et de dépravation sexuelle.

Voir les informations de production sur IMDbPro

NOTE IMDb

6,7/10

3,1 k

MA NOTE

Voir les informations de production sur IMDbPro

Récompenses
- 9 victoires et 3 nominations au total

Vidéos1

Trailer 2:11

Trailer

Photos28

+ 20

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Anecdotes
As told by his fellow actor and friend Massimo Ceccherini on a podcast, the actor Carlo Monni is credited in the opening credits but isn't actually in the movie. He was supposed to play a role and was on set for the whole production but he had some personal issues that put him in strong emotional distress and made him incapable of acting. Marco Ferreri kept his name in the credits as an act of friendly affection.

Citations
Charles Serking: [First lines. Off-camera from a theater lecture stage] Well, here I am.
[Jeers are heard from the unseen audience and an unseen voice yells out, "Fuck you, turkey"]
Charles Serking: Ayyyyy... watch it. I've been working out with weights.
[More jeers and another unseen voice yells out, "Are you drunk?"]
Charles Serking: Ill just drink my wine and leave. Right...
[More jeering]
Charles Serking: Okay, let's begin. Forget the bullshit and get into the so-called art... Style...
[Audience is restless and an unseen voice yells out, "We love you, Charlie!" as he guzzles wine from a brown bag]
Charles Serking: Style is the answer to everything... a fresh way to approach a dull or dangerous thing. To do a dull thing with style is preferable to doing a dangerous thing without style. To do a dangerous thing with style is what I call art. Bullfighting can be an art. Boxing can be an art. Loving can be an art. Opening a can of sardines can be an art.
[the audience bcimes restless again and an unseen voice cries, "Come on!"]
Charles Serking: Not many have style. Not many can keep style. I have seen dogs with more style than men - though not many dogs have style. Cats have it in abundance.
[He guzzles more wine from his brown bag]

Crédits fous
'Copyright' is spelt as 'copyrigth'.

Connexions
Featured in Les films de Marco Ferreri (2008)

Bandes originales
Smile Away The Rain
Written by R. & M. Berardi
(r) Mureo Music Pub

Avis des utilisateurs28

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Commentaire à la une

9/10

Masterful vision of a man enslaved by sexual and alcoholic gluttony

Spectacularly sleazy, beautiful, boisterous and sexy, this is the real Bukowski deal, a booze-fueled erotic odyssey by the adventurous Ferreri with the perfectly cast Ben Gazzara as Charles Serking (Bukowski).

Ornella Muti, as Serking's sexual muse, is Venus incarnate and turns in a powerhouse performance as Cass, an emotionally damaged whore with a penchant for pain. The scenes of Gazzara swaggering in and out of LA's fleapit bars, apartments and hotel rooms convey a filthy, delirious ambiance that is vividly captured by Tonino Delli Colli's superb cinematography and Dante Ferretti's exquisitely oily production design. This is such an amazing looking film with a thick, steamy, anything-goes atmosphere of lust-ridden anarchy.

Much grittier than the accomplished "Barfly" and more watchable than "Love Is A Dog From Hell", the entire affair has an emotional, raw resonance that slavishly captures the Bukowski sensibility and remains consistently perverse in its singular vision of a man enslaved by alcoholic and sexual gluttony.

Phillipe Sarde's score is moody and rich, as is Gazzara's breathy voice-over.

A masterpiece.