Scanialara You won't be disappointed!

Steineded How sad is this?

Konterr Brilliant and touching

RipDelight This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

Chase_Witherspoon Superb black comedy of an ageing quartet gathered for a feast of epic proportions in which they indulge every gluttonous whim with culinary abandon. Their erotic gorging, groping and fondling of food and flesh is both appetising and arresting, as one by one, they stuff themselves to morbidity. It's with a tinge of sadness that their food fornication gradually comes to a halt, when the last man can no longer brook another chocolate pudding or roast pig.Those who appreciate gourmet cooking might find appeal in the vast menu, but will likely be shocked by the flatulence-passing, naked-backside food preparation techniques of these randy chefs. The cast periodically combine their appetite for food with unbridled sexual encounters while they prepare meals, to which the viewer is treated in full detail. But while the sets, costumes and dialogue are all, equally colourful, there's a distinct lack of momentum and coherent storyline in the near two-and-a-half hour epic. I submit, respectfully, there's only so many kitchen orgies one film can sustain (particularly as this isn't a loop) without a more concrete purpose.The cast are formidable in their distinct characterisations (and appetites), and it seems as though each has resigned to his own despair at a life unfulfilled. While Mastroianni does little cooking by comparison with Piccoli, he more than compensates with his sexual appetite at any number of the prostitutes assembled for their last supper. "Le Grande Bouffe" is a raw, uncompromising comedy like no other and should be seen to be believed.

Marco Sorrentino Things will never be passed through the mind of director Marco Ferreri when they had the bright idea to give life to this "Opprobrium's magnificent " will always remain an indissoluble mystery. But the unfortunate spectator, who wasted two hours of his life to see the work in question, is gripped by strong doubts that his stubborn mind just cannot accept the big blowout like that masterpiece that everyone should be proud ? It 'necessary to make a dutiful introspective analysis that seeks to identify the philosophical notions intrinsic. Prologue: four friends who share the same passion for good food, they decided to exile in a villa outside Paris, with the intent to commit suicide by eating. Slowly, one by one, their wish is granted. Ferreri's intention, as long as there ever was one, was to depict, through cruel and (in)significant metaphors, the decadence of the society of consumption that began in the inevitable tunnel of the self-destruction. And considering the opinion of the overwhelming majority of film critics, is for this reason that "La Grande Bouffe" deserves to be counted among the greatest films of all time. Now, that the undersigned does not claim to be a universal opinion, as the press freedom and freedom of speech is sacrosanct, but a sincere and personal downsizing summarized as follows: the goal can not always justify the means. Obviously this assumption Ferreri does not has even remotely considered, choosing the most drastic to go. "La Grande Bouffe" is the work of a man arrived at the height of mental alienation: the example of how rampant addiction (de)generated by a crowded, pompous critical praise, can plage literally the mind of the average spectator . Vaguely subversive, unnecessarily provocative, decidedly nihilistic, the film turns out to be an unprecedented obscenity in wanting to show a (fake) world to the brink of the abyss that engulfs himself. With frequent extreme close-ups intent to "improve" the most repeated movements of the chewing mandibles committed to swallow lots of food, masturbation and explicit scenes orgiastic, vomiting, flatulence, oral and anal irritating, frequent, predictable bowel burns, "La Grande Bouffe" leads repeatedly in complacency exasperated that has ever existed in the "describe" a universe glad to drown. The complete humiliation of the two greatest pleasures of life, food and sex, here undermined by one spasmodic physiological needs tended to want to symbolize the four gentlemen in the picture the endless and deadly desire for food intoxicated, (fake) emblem of an impending apocalypse. Also, of note the odious sexism, the objectification of women reduced to real "objects" to the consumption of the frantic, squalid and uninhibited sexual desires of man. Not to mention the defeatist and improper meaning given the word "Love", a victim of delirium in a scary movie without a shred of humanity and moral worth. If this is a masterpiece, we are fresh! Not to see, to avoid unpleasant side effects.

Cristi_Ciopron 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 ...".)

VR This film is supposed to be a criticism against consumerist society. Well,it could have been done much better.In fact,few people even in the Western world afford&allow themselves to indulge with such delicacies, the most expensive champagne. It is therefore a criticism of capitalism not as it really is,but as it is wrongfully depicted in some Communist propaganda about Western "decadence".Note that the events in the film must take place , in the year 1972 or 1973,because its characters know "The Godfather:Part one".This means the affluent society just before the Oil Crisis put an abrupt ending to the almost thirty years of relentless economical growth after 1945.So,realesed in 1973,the subject would have already been dated.It would have been much better if Ferreri would have made this film in the 80's,because it fits the materialistic credo of the following decade.The idea of the middle-aged man contemplating suicide was well used in films ranging from "The Waltz of the Toreadors" to "Scent of a Woman".Here the suicide pact between four quite wealthy middle-aged men is just unrealistic,especially if there is no logical reason,no plan,no actual pact.Only one character has diabetes and he dies in the most quick and painless manner by eating an entire cake and then passing away as if he fell asleep,as if he wanted desperately to convince the audience that he's dead,when not only the actor but even the character seem to "fake it"(death of course).But we know nothing more of his ailment and if this is the actual reason. Nor do we know why the other three are doing this.Mastroianni should have stuck to "La Dolce Vita",there his character experiences another kind of death and suicide,not physically,slowly defeated by a pleasure-seeking society.This part was the criticism of consumerism without graphic violence,vulgarity,physical signs of pain.But in this film,also being called Marcello,like in Fellini's masterpiece,his part is becoming a tasteless copy of his former part,another,more fleshy Marcello.The death scenes are more of an insult to intelligence rather than disturbing.The viewer is supposed to believe that the four deaths are plausible,if a doctor or even a person without medical knowledge can tell that neither of the characters could die in real life like they did here.They seem to know far too good when exactly they are going to die to be for real!Besides,in every thorough scientific analysis of the symptoms before and in the moment they died it is clear that the cause of their death is just a big deceit.Praised for its divinely decadent mood,this very mood is rather shabby. The villa which is supposed to be a gateway into the decadent verse,of luxury,of vintage class&style looks awfully tasteless and unimaginative,a sterile visual experience completed by a bunch of underfed,dirty poultry running around.And the Bugatti that just drives back and forth without advancing,in a surreal way of defying the laws of mechanics and the very mission of even the worst car,when it should be a fast vehicle.A hint at Isadora Duncan's death?Or just a symbol for the fact the pact once made,trough some incredulous,inexplicable and unrealistic laws of destiny no one will leave the house alive?The food which also serves as suicide weapon is understated and rather unappetizing,though expensive compared to the real French-Italian gourmet cuisine.The literary symbols are also out of place:this film should be a modern Satyricon,but it lacks the picturesque style of the Roman masterpiece,the "Godfather"-imitation is too anecdotal and superficial and Boileau's oak and its story are completely redundant in the plot line,because the hint that Boileau's world of classical harmony is dead in our postmodern times is a too obvious truism.The spectacular factor of Satyricon-style banquets is also lacking.The film should be a warning against the "mortal sin" of gluttony. Actually it is both pathetic and deprived of any realistic expression or emotion,because a real-life French or Italian gourmet would relish all these foods and many more without dying,without even getting sick.Ironically,only hours after I saw the film I also embarked on a weekend of lavish eating and drinking in a secluded mountain villa with my friends and,almost needless to say,after having consumed similar quantities none of us dies or even got sick,lol!-of course there was no suicide pact in our case.No exceeding excess(though made in the materialistic eighties,years of overspending,the same film would have had another message and such quantities of food would not have been used for dying,rather as a status symbol or even a psychotherapy in favor of living).It fails to condemn materialism because neither its temptations are shown as appealing or sinful(and even less as deadly)nor is death due to them the slightest bit possible in real life,and also failing to bear any lessons against excessive greed.One ends up pitying not the basic needs and vices of the characters,nor their low morality,rather their immense tastelessness(even in death)and their unimaginative behavior exhaling mediocrity,essentially non-intellectual though their are supposed to be educated.The parallel between food and the forces of life and death,of eroticism and passion is key element in films ranging from the tragic "Como l'Agua para chocolate"(where food and recipes are present in the most disturbing and intense moments of the character's doom)up to that forgettable pseudo-entertainment called "Woman on top".In this film it was just misplaced and misused.Much more convincing films about how consumerism and the promise of material happiness in a shallow,ruthless society have a crippling impact on the individual,but not necessarily trough food and suicide pacts,like "Blow-up","La Dolce vita","Clockwork Orange","Scarface",Citizen Kane","Wall Street" or "American Beauty"-in all this masterpieces the characters are undergoing their own suicide without knowing,being dragged in the downward spiral of greed much more complex than for food,they may or may not be wiped out physically,but always(and in the long run much more painful)innerly.This film,on the other hand,where even the four deaths fail to be credible,is a shame,but fortunately an exception in the usually so artistically accomplished,so flawless European cinema.