{"id":14853,"date":"2016-12-04T18:00:24","date_gmt":"2016-12-04T23:00:24","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=14853"},"modified":"2016-12-04T18:08:08","modified_gmt":"2016-12-04T23:08:08","slug":"br-stay-as-you-are-cosi-come-sei-1978","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=14853","title":{"rendered":"BR: Stay As You Are \/ Cos\u00ec come sei (1978)"},"content":{"rendered":"

\"StayAsYouAre_BR\"Film<\/strong>:\u00a0Very Good<\/p>\n

Transfer<\/strong>: Very Good<\/p>\n

Extras<\/strong>:\u00a0Good<\/p>\n

Label:\u00a0<\/strong>\u00a0Cult Epics<\/p>\n

Region:<\/strong>\u00a0All<\/p>\n

Released:<\/strong>\u00a0\u00a0May 26, 2015<\/p>\n

Genre:<\/strong>\u00a0\u00a0Drama \/ Romance<\/p>\n

Synopsis:<\/strong>\u00a0An architect rethinks his May-October relationship when the young woman he’s seeing may be his own\u00a0daughter.<\/p>\n

Special Features:<\/strong>\u00a0 Original soundtrack gallery \/ Theatrical Trailer.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\n

 <\/p>\n

Review:<\/strong><\/p>\n

Perhaps an obvious attempt to riff on Bernardo Bertolucci\u2019s The Last Tango in Paris<\/strong> (1972), producer Giovanni Bertolucci (who also produced several of his brother\u2019s films, including The Conformist<\/strong>) and director Alberto Lattuada (Mafioso<\/strong>, Fr\u00e4ulein Doktor<\/strong>) delivered this variant of a May-October\u00a0fling that\u2019s peppered with a dash of possible incest \u2013 a strange quandary to inflict on a\u00a0hero in what\u2019s ostensibly a doomed romance drama.<\/p>\n

In the script by Lattuada and Paolo Cavara (Mondo Cane<\/strong>, Black Belly of the Tarantula<\/strong>), Giulio Marengo (Marcello Mastroianni) is a noted architect who on occasion travels from Rome to Venice, and one afternoon he comes across pretty university student Francesca (Nastassja Kinski). They flirt, he offers her a lift, and they soon separate, but they meet again and engage in a m\u00e9nage at a flat she shares with classmate Cecilia (Tenebrae<\/strong>\u2019s Ania Peroni), another uninhibited soul.<\/p>\n

The day after their affair, he\u2019s told by close friend Lorenzo (venerable Francisco Rabal) that Francesca is the daughter of an old flame, and may be Giuilano\u2019s love child, prompting a weird Is she? \/ Isn\u2019t she? struggle that causes him to hesitate further contact in spite of her potent advances. It\u2019s an unusual monkey wrench that\u2019s used to deepen tension, add some dark comedy, and keep the character in a long state of personal and moral struggle, but in the end, when evidence proves too weak and Francesca\u2019s tugging can\u2019t be avoided, Giulano tosses caution into the wind, and Stay As You Are <\/strong>settles into a standard erotic drama\u00a0where the pair escape to Venice for a fantasy weekend, and Giulio is less concerned about saving his strained marriage to Luisa (excellent Monica Randall).<\/p>\n

In spite of her sudden pregnancy and fractured relationship with her bickering parents, daughter Ilaria (Barbara De Rossi) nevertheless pegs Giulio\u2019s affair as ephemeral, and little by little it becomes apparent the age gap is too wide for the new couple, leading to an appropriately bittersweet finale that has both wanting more, but choosing different paths.<\/p>\n

The incest quandary adds a bit of unnecessary sleaze to the drama, and it\u2019s a slight echo of Brian De Palma\u2019s Obsession<\/strong> (1976), in which the original script had the father experiencing a bit of Hitchcockian Vertigo<\/strong> (1958) by falling for a woman resembling his former wife who\u2019s actually his daughter. Like De Palma, Lattuada ultimately dispenses the incest, and the drama becomes a less wrong tale of an older man falling for the hot daughter of his dead ex-lover from 20 years ago.<\/p>\n

Stay<\/strong> isn\u2019t sexploitation per se, but it has moments that don\u2019t belong in what should be a deeper drama: Giulio\u2019s first encounter with roommate Cecilia has her arriving in the morning and stripping down to her birthday suit; and when Francesca suggests returning to the apartment, she pulls Giulio away from the door when she sees the bedroom is filled with a mass of couples having an orgy.<\/p>\n

Kinski\u2019s characterization of Francesca is a half-teen\u00a0\/ half-woman, but that\u2019s tempered with the camera and costume designer constantly presenting the actress as sultry and chic; whereas other girlfriends wear gaudy 70s clothes, Kinski sports haute couture ensembles and soft colours. Decades since its release, Stay<\/strong> is an example of a film that mostly manages to hold its aura because of Kinki\u2019s radiant\u00a0beauty; unlike the prior To the Devil a Daughter<\/a><\/strong> (1976), this film proved a fortuitous calling card that led to Tess<\/strong> (1979), Cat People<\/a><\/strong> (1982), and The Moon in the Gutter<\/strong> (1983).<\/p>\n

Ennio Morricone\u2019s score is mostly effective in capturing the romance \u2013 a poppish main theme is rather grating \u2013 and Cult Epics\u2019 Blu-ray includes the score + alternate tracks in a bonus audio gallery.<\/p>\n

The film is uncut, but it\u2019s apparent what survives of Stay<\/strong> isn\u2019t great. The source print is grainy, weak in colours, and the transfer has signs of DNR; it\u2019s not unwatchable by any means, but the fine location cinematography by Jos\u00e9 Luis Alcaine (Volver<\/strong>, The Skin I Live In<\/strong>) is marred by a less than ideal print. The BR includes both original Italian audio (with English subtitles), and the laughable English dub track that features wholly ridiculous voices for the two stars: the dubbing actress for Kinski makes her sound like a nitwit, and Mastroianni\u2019s English voice clearly belongs to a man two decades younger than the actor.<\/p>\n

Lattuada would continue to write and direct features and TV productions, whereas Giovanni Bertolucci went on to produce the more overt incest drama Luna<\/strong> (1979) for brother Bernardo, and become Tinto Brass\u2019 main producer, bringing the world some of Brass\u2019 best work: The Key<\/a><\/strong> (1983), Miranda<\/a><\/strong> (1985), Capriccio<\/strong> (1987), Snack Bar Budapest<\/a> <\/strong>(1988), Paprika<\/strong> (1991), All Ladies Do It<\/a><\/strong> (1992), P.O. Box Tinto Brass<\/strong> (1995), Frivolous Lola<\/a> <\/strong>\u00a0(1998), and Private<\/a> <\/strong>(2003).<\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a9 2016 Mark R. Hasan<\/p>\n

\u00a0<\/span><\/p>\n

\n

 <\/p>\n

External References:<\/strong>
\nEditor’s Blog<\/a> — IMDB<\/a> \u00a0— \u00a0Soundtrack Album<\/a> —\u00a0Composer Filmography<\/a>
\n\u00a0<\/span>
\nVendor Search Links:<\/strong>
\nAmazon.ca<\/a>\"\" \"\" —\u00a0<\/span> Amazon.com<\/a>\"\" \"\" —\u00a0<\/span> Amazon.co.uk<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Perhaps an obvious attempt to riff on Bernardo Bertolucci\u2019s The Last Tango in Paris (1972), producer Giovanni Bertolucci and director Alberto Lattuada delivered this variant of a May-October fling that\u2019s peppered with a dash of possible incest…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[18],"tags":[4819,4823,131,4820,4822,4821,4818],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-3Rz","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/14853"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=14853"}],"version-history":[{"count":6,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/14853\/revisions"}],"predecessor-version":[{"id":14874,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/14853\/revisions\/14874"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=14853"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=14853"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=14853"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}