A first musicarello for Rita Pavone, the only one for Totò
A wild ride that shakes to the rhythm of the beat generation, with Totò wearing a wig and performing alongside British rock group The Rokes
A first musicarello for Rita Pavone, who for the last couple of years has been an unstoppable force in the charts, with a collection of songs that will enter into the history of Italian pop music (La partita di pallone, Datemi un martello, Il ballo del mattone…), and who the previous year also conquered television audiences in Lina Wertmüller’s series Il giornalino di Gian Burrasca. Her cinematic debut sees her line up alongside that giant of Italian cinema, Totò. It is the perfect occasion to stage a classic narrative based on generational misunderstandings: the old man believes that classical music is the only valid form of music, and conducts an orchestra with four decrepit musicians who fall asleep while performing; she is the queen of yé-yé pop music, with an energy that inevitably infects even the most quarrelsome. That’s how we arrive at the following unforgettable image: Totò wearing a young person’s wig and singing a song that he composed (Malvagità), accompanied by The Rokes, a British band that found their own personal El Dorado in Italy and left a mark like few others on the national rock music scene.
A lover of classical music adopts an orphan who has survived an earthquake. His intention is for her to become a classical musician. He is disappointed when he realises that the young girl is a big fan of contemporary music, which he absolutely detests. In the end, she will win him over to pop music.
A first musicarello for Rita Pavone, the only one for Totò
A wild ride that shakes to the rhythm of the beat generation, with Totò wearing a wig and performing alongside British rock group The Rokes
A first musicarello for Rita Pavone, who for the last couple of years has been an unstoppable force in the charts, with a collection of songs that will enter into the history of Italian pop music (La partita di pallone, Datemi un martello, Il ballo del mattone…), and who the previous year also conquered television audiences in Lina Wertmüller’s series Il giornalino di Gian Burrasca. Her cinematic debut sees her line up alongside that giant of Italian cinema, Totò. It is the perfect occasion to stage a classic narrative based on generational misunderstandings: the old man believes that classical music is the only valid form of music, and conducts an orchestra with four decrepit musicians who fall asleep while performing; she is the queen of yé-yé pop music, with an energy that inevitably infects even the most quarrelsome. That’s how we arrive at the following unforgettable image: Totò wearing a young person’s wig and singing a song that he composed (Malvagità), accompanied by The Rokes, a British band that found their own personal El Dorado in Italy and left a mark like few others on the national rock music scene.
A lover of classical music adopts an orphan who has survived an earthquake. His intention is for her to become a classical musician. He is disappointed when he realises that the young girl is a big fan of contemporary music, which he absolutely detests. In the end, she will win him over to pop music.
