Film
Saturday, Sunday and Monday
Direction:
Edoardo De Angelis
With:
Sergio Castellitto
,
Nunzia Schiano
,
Margherita Laterza
,
Fabrizia Sacchi
,
Gianluca Di Gennaro
,
Gianpaolo Fabrizio
,
Maria Rosaria Homage
,
Maria Vera Ratti
,
Liliana Bottone
,
Toni Laudadio
,
Adriano Pantaleo
,
Giulia Pica
,
Broom Paladino
–
After the excellent results of “Natale in casa Cupiello”, broadcast on Raiuno in December 2020, the director Edoardo De Angelis and Sergio Castellitto return to collaborate for this new chapter of the trilogy dedicated to Eduardo De Filippo’s theater. Eduardo’s comedies blend comedy with restlessness, the rhythm of action with reflection in a perfect mechanism. Under an apparent lightness they are, in reality, a bitter and ironic mirror of our Company. “Saturday, Sunday and Monday” takes us within the walls of the Priore house. Rosa Priore, like every Saturday, prepares the ragù for Sunday. Her husband Peppino wanders around nervously in the kitchen, arguing with her about every little thing. The reason for the nervousness manifests itself the next day. Is Sunday. The entire Priore family is gathered in front of the ragù. Rosa wore the blue scarf given to her by the neighbor, the very thoughtful accountant Ianniello. Peppino does not touch food and, to the umpteenth compliment given by the accountant to the cook, bluntly accuses them both of having a “lousy affair” … DIRECTOR’S NOTES If I tell someone I love you, I do it with reason. If, on the other hand, I confide in myself and say that I hate you, it is a gesture that transcends my every control. The synthesis is perhaps even more brutal than the dichotomy it implies. Peppino Priore still perceives the contours of things with rational clarity, all the beautiful things he has been able to fill his house with, while their substance has deteriorated. Like a monster that feeds on itself, jealousy has infected his gaze, which now returns horrible images of his dearest affections, making him totter on the crest of madness. The curtain opens and we surprise him as he wields a loaded revolver. He tries assaults, threatens his ghosts. Behind him, the immensity of the Gulf of Naples does not seem to be too much disturbed, he does not even know whether to take seriously what seems to be the recitation of an old boy. Meanwhile, in the warmest and most hidden area of the house, in the kitchen, the women carry on with their lives. Through the ritual preparation of the ragù they secure the possibility of meeting around a table, of looking each other in the eye once again and perhaps for a moment defeating death. Edoardo De Angelis
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