Paris, My Love

Paris, My Love

Release date : December 5, 1962
Runtime : 1h 46m
Countries of origin : Italy /
Original Language : Italian /
Director : Vittorio Caprioli /
Production companies : Ajace Produzioni Cinematografiche /
December 5, 1962 1h 46m Italy Comedy Italian More
7.2
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Overview

Parigi O Cara is probably the most camp in the history of Italian cinema, certainly a favourite with the GLBT community who quote its lines by heart. Unique as it's the only film where Franca Valeri (now 90) is the unquestioned star, in the role of Delia, a snobbish, stingy prostitute who is moving to Paris looking for greener and more lucrative pastures. An anti-neorealist, amoral, almost abstract comedy, which anticipates Almodóvar, a ferocious, though gentle, non-moralistic portrayal of the 60's boom and its broken dreams. The dialogue between Delia and her brother (played by Fiorenzo Fiorentini), when he does (or does not) tell her he is a homosexual, is memorable, a primordial coming-out, a masterpiece of allusions. But what makes it one of the first examples of a film with a "gay point of view" is the approach: perceptive, non-conformist, caustically witty. A film ahead of its times, still unbeaten.
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  • title:Paris, My Love
  • status:Released
  • Release date: 1962
  • Runtime:1h 46m
  • Genres: Comedy ·
  • Countries of origin: Italy ·
  • Original Language: Italian ·
  • Director: Vittorio Caprioli /
  • Writers: Vittorio Caprioli · Franca Valeri · Vittorio Caprioli · Renato Mainardi · Silvana Ottieri ·
  • Production companies: Ajace Produzioni Cinematografiche ·
  • Overview:Parigi O Cara is probably the most camp in the history of Italian cinema, certainly a favourite with the GLBT community who quote its lines by heart. Unique as it's the only film where Franca Valeri (now 90) is the unquestioned star, in the role of Delia, a snobbish, stingy prostitute who is moving to Paris looking for greener and more lucrative pastures. An anti-neorealist, amoral, almost abstract comedy, which anticipates Almodóvar, a ferocious, though gentle, non-moralistic portrayal of the 60's boom and its broken dreams. The dialogue between Delia and her brother (played by Fiorenzo Fiorentini), when he does (or does not) tell her he is a homosexual, is memorable, a primordial coming-out, a masterpiece of allusions. But what makes it one of the first examples of a film with a "gay point of view" is the approach: perceptive, non-conformist, caustically witty. A film ahead of its times, still unbeaten.
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