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Joaquim de Almeida,
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The film consists of four stories plus epilogue, set in 19th-century Sicily. THE OTHER SON - A mother spends her life waiting for news from her two sons (emigrated to America) while ignoring her third, because he is the reincarnation of the bandit who raped her. MOON SICKNESS - a newly-wed peasant girl discovers that her husband goes mad every full moon. She arranges for a male friend to protect her, but they end up in bed together just as the moon emerges from behind a cloud. THE JAR - a rich landowner hires a master craftsman to repair a giant olive jar, but the craftsman gets trapped inside. REQUIEM - villagers band together in an attempt to force their landlord to let them bury their dead. CONVERSATIONS WITH MOTHER - the writer Luigi Pirandello talks with his aged mother about a story he always wanted to write, but which he never managed to capture in words.Written by
Michael Brooke <email@example.com>
The definitive attestation for Franco Franchi and Ciccio Ingrassia
"Kaos" has been the movie that has marked the return of Franco Franchi and Ciccio Ingrassia to the cinema, after a parenthesis of some years, during which they had above all participated to variety in television. Shows of happening that they had allowed the two actors to resume their classic repertory that, to the cinema, seemed not to have more much space.
"Kaos" has represented for Franco Franchi and Ciccio Ingrassia the definitive attestation of their interpretative abilities, already appreciated from the public who had them always follows, but does not from the critics, that placing them in that comedians zone, above all those coming from the Avanspettacolo, in which Toto' was passed also.
Perhaps has been a sign of the destiny that Franco Franchi and Ciccio Ingrassia has had their higher professional acknowledgment interpreting the transposition of a story - "La Giara" - of writer Luigi Pirandello, sicilian, born to Agrigento (Akragas). Who best of Franco could have interpreted the craftsman who materially does not succeed to get rid from the obtained result thanks to its abilities? Who best of Ciccio could have interpreted the owner of that good that cannot use? "La Giara" it is the metaphor of that impossibility to use a good (the art of the comedy) that Franco and Ciccio possessed, but of which they could not draw all the benefits: the acknowledgments of the critic.
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