digital_groove
Four individuals plan to eat themselves to death at a retreat surrounded by women and non-stop catering. Throughout the film each character philosophizes, make sexual innuendos, have sex, and gorge themselves in one vice or another in every scene.I've seen the film a few times and it remains enjoyable. Each character has their own traits and different ways of exiting life. Prostitutes come and go yet a female school teacher decides to join the horde until the very end.Sadean to the core, without the pessimism, their hedonistic lifestyles continue until their bodies (or mind) can no longer take it.A satire of course, but given the time it was filmed can probably be looked at in a few ways. Three of the four characters greatly enjoyed their time even when facing death. Half expecting to see them have a revelation or biting realization on life, instead they continued on the same path. Kind of hard to have a satire without some sort of tragic ending or change in plans of the patronized characters.Not a masterpiece but worth seeing. The film is even strangely erotic. I don't think it comes together as a full fledged mock of society either. I dare one male to deny he would not enjoy a weekend at a retreat such as this.
tedg
This is a sort of adventure in shocking an audience. It failed with me because I've been exposed to so many more incisive things.But I like the way it is put together. It is a sort of "Love's Labors Lost" meets "8 1/2 Women." Though both those films came after, they are far superior.Four men gather in order to eat themselves to death via gourmet food. They attempt it in remote solitude, but love and sex intrude. First, we have some prostitutes, then a chubby local schoolmarm who falls for them all. The sex — with her — is tender, never hungry and significant. She becomes a sort of witness, our surrogate in the thing, watching as each of her lovers expire from life, because of determined living.There is a scene copied later a much better in "8 1/2 Women" where our woman masturbates an old man while he expires. There it is a gift; here a duty. And that's the problem — the thing has no poetry. Sure, there are plenty of attempted metaphors, but they all seem mechanical.The grand sweep has us with relationships as passion, passion as sex, sex as consumption, consumption leading to death. A meal late in the game is "ass tart." I think this could be done effectively and may have been done somewhere. But meanwhile, I recommend the later films.Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
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 ...".)
