This man with lascivious ,nasty traits and libidinous habits (on screen, at least) is a cultactorand one of the luckiest, eitherhe was the man designated by Brass to hug, fondle, embrace, touch those marvelous Brass femmes fatalsin LA CHIAVE, MIRANDA, Senso '45some of these are mythical movies ;he made a considerable gallery of men who are never no. 1, nor Des premiers, but who nonetheless manage to have a lotby cunning, chance or by simply being there. His role in LA CHIAVE is perhaps the most sophisticated; in SENSO '45 he is a libidinous, sleazy oldster, in MIRANDA an avid redneck
. MIRANDA is a Goldonian spoof, a fabulous Goldonian parody, and Brass' intentions are obvious beginning with the place that Branciarolli's character gets in the script. Brass never pretended that his fetish hardcore (to a certain degree) actor is a handsome man, or the first choice of a womanin LA CHIAVE, he is the much younger sonin-law and he becomes a caprice and sexual toy of his bored ,boiled by desires sexually authoritarian and emancipated motherinlaw; in SENSO '45 he is an oldie confident that craves for some sexual attentions
;in MIRANDA he is hillbilly that is accepted in Mme. Grandi's bed only after all the more interesting sexual adventures have been consummated almost under his envious ,jealous eyes. Branciarolii is,in Brass' movies, never the one who conquers or wins, but the one who is conquered or let, permitted to win
.
SENSO is THE KEY turned upside down; the mature woman, humiliated, used for else than her body, despised. The pagan celebration of earthly love turned into a farce. It's very sentimental, because Brass intended to underline his compassion for Livia Mazzoni. Brass is a feminist director; his movies celebrate the women, usually the men are the women's victims and Brass takes delight in that. Brass ' movies are a celebration of the earthly, vigorous, egoist women. There might be about love in THE VOYEURonly perhapsand in SENSO ; I do not know if the notion of love ,of sentimental love is ever targeted by Brass.
And yes,it is a fairly fancy game imagining various women as actresses in Brass' movies.
SENSO is THE KEY turned upside down; the mature woman, humiliated, used for else than her body, despised. The pagan celebration of earthly love turned into a farce. It's very sentimental, because Brass intended to underline his compassion for Livia Mazzoni. Brass is a feminist director; his movies celebrate the women, usually the men are the women's victims and Brass takes delight in that. Brass ' movies are a celebration of the earthly, vigorous, egoist women. There might be about love in THE VOYEURonly perhapsand in SENSO ; I do not know if the notion of love ,of sentimental love is ever targeted by Brass.
And yes,it is a fairly fancy game imagining various women as actresses in Brass' movies.