L'amore è eterno finché dura

This movie is the sort of strange mixture between comedy and drama (more comedy this time) that is usual of the contemporary Italian cinema, made by one of his best actor/director, Carlo Verdone. It has been a long time since his first efforts, more comical, almost pharcycal. Now, Verdone is a mature author, that choose to examine the midlife crisis of a couple, their separation (not really thraumatic), their new life (or such). Verdone is fun to watch and hear (in the Italian language, of course) even if the movie is not full of gags (less than the usual in movies of such a director). The story is not too dense, probably a little superficial, but could be true, a mirror for some real couple. All in all, not shining, but not bad.

Verdone plays the older version of himself, as an hypochondriac optometrist who tries speed dating because his marriage is on the rocks, only to be discovered by his wife, who's cheating herself.

The big question of the movie would be if it is possible to start a new life after fifty and the answer is predictably positive. However, this is misogynistic Italy, therefore the optometrist starts his life anew with a companion twenty years younger, because women of his age are so definitely unsexy.

"Why do we have to act strong?" is what a shattered Laura Morante has to write on a paper (ok, an almost obvious symbolism for our inability to communicate properly) to let Andrea know her feelings. Maybe this was the most heartfelt line of the whole pic. This movie sees Carlo moving from his more comic movies and trying to reach a new shore of maturity, this was also noticeable in his previous effort. Altough he is not Woody, Carlo is still able to give us some interesting views about - as individuals - growing up, and growing old, and - as couples - falling apart. There were some good laughs too in the movie, but what knocked me out was the girl who played the daughter Marta, i guess this was her name. She was a really good surprise. On the other i liked Carlo's maturity in writing, but i have to admit i can't stand his mask anymore. He should try, sometimes, to step behind the cameraand let some others actors play the leading roles, this would help him to find a direction. Now he seems stuck in between two needs: to please his comedy fans and to grow up as a writer and director. When he's in the scene i always feel like "Oh, my gosh, if he wasn't playing that part the movie would have had a whole different appeal". When i see Carlo playing "the role of himself" (and this is definitely what he does in this movie) i always feel that he's empathyzing way too much with his character, a thing he could avoid slipping in the back, screaming "action" and then "cut" and letting some more believable actors play the leads.