It is impossible to look away from Al Pacino. It fills the entire space and does not let go. A very intense film, not even a melodrama. Simple story, great execution.
- Because the heart knows what the mind cannot yet understand.
Before our attention, the pride of director Harry Marshall is his successful and simply wonderful film based on the play by Terrence McNeilly - Frankie and Johnny. To be honest, I love this melodrama and have watched it many times. The film is happy that it is real and the love story is shown in an incredibly charming way. Thanks to good directing and clean acting, the picture without any praise deserves the closest attention.
In a big and noisy city, where people have forgotten what love is in the frenzied rhythm of life, he and she met. Frankie is a kind and understanding woman, but lonely, tired, looking for peace, far from perfect. Johnny once stumbled in life and served in prison. Now he's starting a new life. Heroes met at work, and there was closeness between them. The relationship was very difficult, but where there is true love, all the problems will be overcome.
I know I can't make the bad go away. But when the bad comes again, I want to be there for you.
Duo Al Pacino and beautiful Michelle Pfeiffer world fell in love with the cult film “Scarface”, so again it was nice to see them together. Both actors are brilliant and watching them play is a pleasure. Personally, this story is one of my favorites, in which both actors starred. So touching, so truly was shown this love story that the film can be safely called a heartfelt and perfect story of true feelings.
If you ever want to revisit an old and good melodrama, I will choose this movie. There is something beautiful about him, something real about him, as if we had seen a real story. That is why I consider this film story the pinnacle of the fame of Harry Marshall. Love is so difficult, where there are always obstacles to true love, for some reason it always happens. This story is another example of this. It is difficult to trust, difficult to believe a person, afraid that the heart will be broken again. This is what we see looking at Frankie, but Johnny will do anything to make her believe.
Frankie and Johnny is a wonderful, American melodrama with a taste of drama and comedy in 1991. This love story is absolutely beautiful, and the movie itself is charming. I love this picture and especially appreciate it. Good mood and great movies like this. Thank you.
"Frankie and Johnny."
- I heard that song.
- We got together without even meeting.
I think they killed each other in the end.
- No, she killed him. You have an advantage.
It seemed that everything would be typically polished, as befits traditional American melodramatic comedies. Turns out not.
The film carries a consistent disclosure of the characters. Not everything is so obvious and on the rolled up. And they turn out to be, so much battered, so "uncomfortable" to some extent. I liked that imperfection. Next to these guys I am comfortable and calm, there is no screen barrier and alienation, just live with them and feel. You are not forced any sympathy or dislikes.
In particular, I was touched by the situation in the head and soul of Frankie, yet I did not have such empathy for any character, moreover, I saw myself in her. Michelle Pfeiffer is very good.
Also, with any character in particular, you can observe a picture of personal psychologically-conditioned personality traits, who is fond of psychology, I think it will be interesting to analyze even a little.
For all that I have noted, this picture remains quite light, funny and pleasant to view.
If you’re lonely and want to reflect on life, loneliness, choice, time, human weaknesses and the strength you need to give yourself a chance, you should watch this movie.
Never heard of this film and then saw some motivational poster Vkontaktika with a shot from there and looked.
Actually, from such stars and the film ' About Love' as well as from admiring reviews on the film search, you expect something special and touching.
But it's actually a bad movie. There is no sensitive, transparent love that tenderly connects two wounded souls, there is no desire to make the world a little warmer and kinder after watching and there is no unity of souls.
What do we have in reality? The first 2/3 of the film I perceived it in the framework of the template-film about love, now it will be ' Ordinary miracle' and ' Carl, they put raw gunpowder!' but then I realized that the film is quite different, I don't even know if it was wanted to say the director... a woman who has not been in a relationship for a long time, invented ' difficulties' and got used to it ' She is frenzied with loneliness; she rejects men who are interested in her; she is unable to maintain relationships; she behaves like a complete fool. All her problems, which supposedly prevented her from building a relationship - such nonsense ... about which you can calmly say on a second date and look at the reaction of the man ... well, quit. Instead of this positive attitude towards life (I will try to be happy, despite the problems), we have the classic baba fool, who howls at the moon from longing, but, proudly, snorts contemptuously at the prince trying to get acquainted with her; when the prince breaks the resistance and meets, she periodically ' turns on the fool' and arranges some scenes out of the blue. In fact, 90% of women are single.
Al Pacino? Well, he has a simple role, he plays himself - a man with a rich inner world, who breaks through ' pattern in the eyes' who is capable of ' break pattern' His character is drawn in the script literally a couple of strokes-' a good man, but caught in a life of trouble, who is able to love' Just I didn’t understand why his hero insolently climbs to the heroine, mutters about love at first sight, frankly imposes himself, doesn’t even ask-' Look, I’m not a gift, but maybe you need me?' instead, he pursues her and grabs her hands. Oh, come on.
What else is in the film ... I don’t know if the director wanted to show it on purpose or if he imagines the life of the social bottom (after all, the employees of the diner are not rich people), but the film is filled with dirt. Look at the diner where they work, it's not that it's disgusting to cook and eat, it's just that it's disgusting to go in: everywhere there are traces of peeled paint, all the surfaces are salted, veiled, all with a touch of dirt and hopelessness. We see the same thing in the homes of the characters and in their clothes. Why are they so dirty at home?? Well, it's clear that rental housing, but you can't paint blackened walls, can you? See how the heroes are dressed baggy (except for the coat at Pfeiffer, which is good), all light is actually gray, all the clothes are like second hand cheap tailoring, Al Pacino shines a ragged jersey-alcoholic in bed scenes, Pfeiffer goes to the party in a cotton dress, which is the very floor of the house to wash. People don’t even want to go to 'The Salvation Army' and buy clean, inexpensive clothes if you don’t have money.
Scenes of love between the characters are reduced not to spiritual intimacy and the opening of the native heart, but to bed scenes, but they are real-fu, abomination. Everything is somehow filmed ... with strain, they say, well, here it is, the unsightly physiological love of two elderly scum of society on a squeezed sofa. There is no cleanliness, there is no joy from a loved one, everything is something ' having sex without taking off your shoes'.
In general, compare with the great love, light, purity, tenderness that permeates the Swiss army man, the Eternal sunshine of the spotless mind.
I just can’t help but like this movie! This is not just another melodrama of its kind. This is not just a beautiful love story. Here is a drama about the love of mature people who saw different aspects of life, because of which their relationship can no longer develop easily and smoothly.
Johnny, a chef who just got out of prison, falls in love with Frankie. Falls in love strongly, seriously, really, as a rare mature person. Experienced trials do not kill in him the ability to deeply and sincerely feel, to understand what exactly he feels, and to convey it to those to whom these feelings are addressed. Frankie is more hostile to him, life has taught her not to trust people and not to open her soul to anyone. She cares about Johnny too, but she resists it and rejects him. She's a lot younger than Johnny, but she's been through a lot harder. The basis of this story is the struggle of passion and pressure of Johnny with the inaccessibility and hostility of Frankie. It takes a lot of effort to break down this wall of hostility.
Michelle Pfeiffer presents her character as attractive, kind, independent, but closed to others. At first glance, it seems that everything is fine with this girl, but with the development of events it becomes clear that there was some drama in her past. Al Pacino in the role of Johnny appears as a kind of assertive seducer, driven by a strong and sincere feeling, unusually persistent and patient on the way to a certain goal. His character attracts with his sincerity and openness, as well as vitality and something like spiritual youth. For both actors, this is not the most significant film, but they play here just great. For true masters there are no secondary films, in each of their work they invest everything possible.
There are also various funny secondary characters - the employees of the cafe where the heroes work, and Frankie's neighbors - homosexuals. They give the whole story a light comedic touch, smooth out the drama of the whole story.
The film impressed me with its depth, intrigue, drama, good interesting game. From my point of view, this is a worthwhile and very relevant picture. Every day ordinary people fall in love with each other, but experience or fear prevents them from expressing their feelings, past and prejudices prevent them from becoming happy. The story is about not giving up and not being afraid to love.
9 out of 10
The film exalts its sensitivity to humanistic values largely due to the dialogue scenario, which is as close to natural as possible, literally animating a small cozy cafe in the depths of Brooklyn’s bustling theater of life for two hours. What, by the way, is not surprising at all - Terrence McNally's play deservedly occupies its own niche in the theatrical environment of off-Broadway productions of New York, nominated for several awards and magnificently adapted for the body (cinema) viewer.
Here there is nothing superfluous, here you immerse yourself in the action and, fascinated by staring at the screen, forget about the claim to the extraordinary characters and plausibility (I am sure that many of what is happening in the frame will seem absurd at all), here it is impossible to afford an auxiliary occupation or any kind of distraction while watching, because step by step you get acquainted with the heroes of the narrative, smile with them together, breathe out during their experiences and rub the water on your cheeks, realizing that this picture is about every lonely heart hiding behind the glowing yellow windows of all the planet taken together.
Al Pacino is gradually gaining my respect for his versatility, and the more I become familiar with his work, the more I want to continue doing so. His hero, who does not waste time, teaches us to seize every chance, to demand the maximum speed of life from the world and pushes us to believe not only in the notorious “second chance” but also in the statement of the belief that the spiritual is inextricably bound up with the objectified world by invisible ties of feeling, which is sometimes impossible to describe even the titan of verbal forms. Have a good time.
Cinema for all time and without age restrictions, except for the youngest viewers. The standard of the genre in all components of cinematic art. Behind the conductor's wand maestro Harry Marshall, who shot the cult film "Pretty Woman", as well as a scatter of wonderful films, such as "The Man Overboard". The roles are performed by Al Pacino and Michelle Pfeiffer. But in addition to them in the film and other actors are quite expressive. Take Hector Elizondo and Kate Nelligan.
Marshall's picture is about love, about the one that does not at first sight, but comes in a mature conscious age, like a wine of good aging. A movie about how difficult it is to part with your complexes, I mean the heroine Michelle Pfeiffer. On the laundry of two human characters and that people have the right to be happy.
She's just an average waitress, and he's an ordinary cook, maybe not quite ordinary, but the world hasn't heard of him. The gift of fate is that the Lord brought them together, and whether they will be able to seize the opportunity will tell time. Frankie (Michelle Pfeiffer) has survived a tragedy no one knows about. It is easier for her to sleep with a man without obligations, but so that he does not climb into her soul and does not require mutual feelings. Will Johnny be able to melt her heart, will he have the patience, because all at once serve everything ready. This is what Harry Marshall will tell you. Magnificent Michelle! Fantastic role. This is not a stupid blonde who is serving a number on the screen, this is a real master of her craft. Few people will believe her character. Al Pacino is good too, playing great. Good Marshall built a movie so that no one pulls the blanket over them. This is the absolute beauty of the picture. Perhaps Frankie and Johnny's story can teach people to be more tolerant of those they care about. Perhaps someone will look at this tape differently will relate to women, and someone will want to be like the hero Al Pacino. Why not?
The story of two hearts saddened by this world. Frankie and Johnny are inherently two very complex personalities, as each has their own unusual, one might even say tragic life story, which left an imprint on their fate. And a little bit about the characters.
Character Frankie: is not the happiest person on earth. She cries looking out the window of the bus that has been taking her home for a long time. She buys a VCR to brighten up her dreary, cold evenings. Frankie shows indifference to the opposite sex, as she was burned in the past and does not want everything to happen again. She tries to be cold with men, but dreams that in the end someone will take care of her. Everything seems lost to her.
The character of Johnny: Just a man out of prison. Resourceful, cheerful, but a little lost the meaning of life. Divorced from his wife and his children considers strangers because, during that time spent behind bars, his children grew up and seem strangers to him, which is very upsetting. I really liked this character, especially Al Pacino himself. He seems overly cheerful, but in fact, somewhere in the center of the eyes, in the pupils, you can see fatigue and sadness. Deep down, he is lonely, torn apart by life, and sometimes he wants to die when he thinks he is the only soul left on earth and that he is trapped by his body. It seems to him that he is only colliding with other bodies and there is no hope of one day connecting. But when he met Frankie, he realized he had found the soul he never dreamed of. In prison, he turned out to be a good cook and when he was released, he decided to do this beloved business. Johnny loves "William Shakespeare" and quotes it in the kitchen, which looks pretty.
Eventually, these lost souls reunite, in a cafe eternally full of visitors. They walk by the moon, he gives her a flower, a first kiss, passionate, so long-awaited. But it does not look trivial, as in ordinary melodramas shot according to template, worn-out scenarios. Everything looks special, with its own twist. What distinguishes this film from many other uninteresting, boring love films. And all this against the background of the hatches, from where the steam goes, screaming somewhere in the distance of the police siren, in the city of sinners. This background emphasizes all the simplicity and ordinaryness from which everything looks natural. You want to believe in these people and this story. And you do it. All the actors showed their characters very realistically. Sometimes it felt like just putting a camera somewhere in the corner and filming the lives of ordinary people, especially the episodes in the cafe. The film first immerses us in the cares of each main character, in the bustle of their lives. You watch half the movie with a smile and you get so caught up in the story. And in the middle of the movie, when the ending begins, you are already immersed in the whole picture. It's only then that dramatic scenes happen and you don't want to, but chewing in the heart appears.
I liked the film because of the star cast of “Al Pacino” – “Michel Pfeiffer” and other supporting actors. Because of the beauty that is emphasized in ordinary life, ordinary people, against the background of ordinary evening streets, in an ordinary American cafe, where eggs and bacon are served. Because of the apartment, where you can see the lives of all your neighbors. Because of this room, where in a short period of time you can hear many beautiful, serious words and see people filled with emotions.
Love is not too late and there are no barriers to it.
Loneliness and romance come together in this film. It's quite a game. Romantic tape with pastel scenes. And yet, when the film is over, it’s not easy to put your thoughts together. And laying out the idea was even more difficult. After viewing, some defocus remains.
Perhaps the main focus of the movie was on single people. Be it an elderly woman whose family became the employees of the cafe, or a waitress, a cook, maybe a neighbor living in the house opposite.
Frankie and Johnny They have something to think about together. They are both similar and at the same time absolute opposites. However, each of them is afraid to stay with anyone in life. And that fear is different. Johnny knows how to care beautifully, he is an optimist who does not lose hope for the best in life. You can say young at heart, but time takes its toll. Frankie lost that hope, but after finding Joe, she gradually recovers from the injury. She tries to believe in love in her own way.
As always, Al's play deepens the film. He's just him. With it, the surrounding movie world seems more weighted, more real and dramatic, despite the slipping irony, some humor. I will not hide the fact that his play causes a desire to escape from other actors' shackles. It's kind of frank. Yeah, she's challenging. Michelle Pfeiffer is nothing special, plays in his own spirit.
People create any obstacles for themselves in order to lose them, you need to believe in yourself first and then everything will work out.
Oh, yeah! Love is perhaps the best of all human feelings, and let all people treat it differently: someone with prejudice, and someone with irony, with contempt and sadness, with joy and sadness, but no matter how we treat love, we still want to find it. But where? when? at what fateful hour will this very love burn us through and through like lightning! Sometimes, in search of love, we invent it ourselves, so wanting to take for reality a barely similar feeling that then we feel only deceived, as if we bought an expensive brand, and found a Chinese fake.
Yes, this is a beautiful story about love, almost a fantasy and a myth, but how do you want to believe in it that after watching it does not leave the feeling of joy for the main characters: “finally someone has found happiness in this life” without even thinking that all this is fiction and a fairy tale.
And, in general, it turned out to be a good romance, without unnecessary playfulness and unnecessary lotions, maybe not life, but something necessary in life for you, me, each of us.
“To love is to see a miracle invisible to others.” – François Mauriac
The Brooklyn Bridge runs far beyond the horizon towards Manhattan Island. The sun has already set, but the sky is still covered with a soft scarlet canvas, torn by ubiquitous skyscrapers, striving upwards. This beautiful picture is watched by a short man in a battered coat and an impressive bag over his left shoulder. His name is Johnny and this morning he got out of prison, and tomorrow he will get a job as a cook in a small diner where he will meet her.
“Frankie and Johnny” can be interpreted as an attempt by Harry Marshall to repeat the success of his “Pretty Woman”, released a year earlier. But if the love story of a rich financier and a street muddler still should be considered a kind of fairy tale for adults (or the embodiment of dreams of any representative of the fairer sex), then “Frankie and Johnny” in its design, the story is more grounded and true – the local heroes live from salary to salary, go to work every day on the same road, do not save the whole world alone and do not have a fabulous state. Moreover, the authors, literally stuffing their narrative with a rather impressive number of characters, did not allow them to be confused and even managed to reveal the character of the vast majority of them and as a result, all these characters fell in love with the viewer and became like relatives. But the secret of audience sympathy is not only this: all the characters of the picture are ordinary people, with their unrealized dreams and small joys, without embellishment and illusions.
And among them are Frankie (Pfeiffer) and Johnny (Pacino). He is a freshly released criminal; she is a beautiful but introverted waitress. They like each other and begin to get closer, but the fear and uncertainty of Frankie in every possible way prevent the brewing romance. Playing the main roles Al Pacino and Michel Pfeiffer have already met on the set, in the cult crime drama Brian De Palma "Scarface". Here, their heroes are much older, by the time of their acquaintance they have already experienced and lost a lot and are on a slightly different level in terms of social status. However, this duet is still good and demonstrates a natural and convincing game, thanks to which almost immediately attracts the viewer. Their characters are very different from each other and full of contradictions, but both share numerous mistakes of the past and the need for change. The hero of Pacino, the chef Johnny, appreciates every minute, sparkles with charm and radiates kindness, is full of bulletproof optimism and indomitable will in the fight for the reciprocity and sympathy of the beloved woman. The heroine Pfeiffer, on the contrary, is very withdrawn and lives like in a sink, at the same time wanting and fearing the coming changes and events in her life. Her soul is burned by the pain of betrayal and deprivation, and now trusting another person is too difficult and risky for her. Both actors play just wonderfully, reliably and without tears, moreover, Michelle manages to outplay Al, but this is due to the fact that her story is more dramatic and the heroine herself is more deeply written by scriptwriters.
The narrative itself is partially sustained in the style of the chamber genre (that is, all the main events of the film and almost all of its timekeeping take place in the premises), this can be taken as an attempt by the authors to create the illusion of a separate, small world, isolated from the realities of modern New York. And this attempt is to some extent successful - the film turned out to be very "cozy" and bright in the atmosphere, but at the same time the director still tries to ironize over the unpleasant aspects of the life of a big city - vagabonds scurrying through the streets; drivers of colliding cars seeking to choke each other there on the spot and a vatag of boys playing coins right at the crime scene, as evidenced by the chalk silhouette of the murdered on the asphalt. The film itself is slightly overloaded with dialogue, and the duration may seem to the viewer protracted, but the genre itself requires it and complaining about it is as impractical as complaining about frequent showers in the middle of autumn.
Result: A beautiful and kind tape that will make the viewer both sad and happy at the same time. A film about basic human fears and the invincible power of the will, but first of all, it is, of course, a film about love. A movie for hopeless romantics that will always be relevant.
There are so many movies about love right now. And how disingenuous they are. And this... seems like a simple story, like 10 fingers, but how amazing it was shot! Watching the melodramas of our century, you involuntarily notice that they are all terrible as stereotyped. Young actors are not playing well right now. Do you think playing love, a strong bond, is easy? Sometimes tearing to show pain is not enough, and sometimes even unnecessary. Every Zac Efron and Amanda Seyfried should learn from the masters. Like Pacino and Pfeiffer.
Al Pacino just unimaginably perfect fit Michelle Pfeiffer. They felt each other, played, so to speak. Every look, every gesture... And the sex scenes are dead. Amazing! Seriously. And it seems that the minimum of emotions in Pacino... but how talented he conveys the image, without any snot! Michelle Pfeiffer from the movie "White Oleander" became my favorite actress. And here she only confirms her talent. How beautiful she is! I can't help but admire her. I know very few actors who are as natural as Pacino and Pfeiffer. They seem to be living roles. And that, I think, is the highest peak of skill. They are actors with a capital letter.
The plot is brilliant. In moderation with humor, with tragedy - a little bit of everything. Every secondary character is visible. All heroes are amusing. I want to work in a cafe so I can talk to such good people. This is life! And here she hits the key.
And love here.. sincere, real, clinging to life. That's how relationships should be! Each of the two lovers must fight for the other. Everyone has to work on relationships. Not just whining in the corner with a sense of rejection. Go and insist if you want to be happy! Johnny fought for Frankie, which is why they did it. It often happens that a man does not want to do anything. He thinks he's doing the right thing. Letting the woman go free. But actually, it's a real cowardice. People are afraid of a lot. They are afraid to grow old, afraid to become attached to someone, afraid to be disappointed... but fear must be overcome if you want to take the maximum out of life. That's why I loved Frankie and Johnny's story so much.
I couldn’t get away from the screen, the movie was seen in one breath. And now he is one of my favorites.
The romantic drama of Harry Marshall “Frankie and Johnny” is one of the most underrated films in the career of this director, better known to the general public for the films “Overboard” and “Pretty Woman”. Based on the play of the same name by Terence McNally, who became the author of the script, the film tells us the story of two ordinary, in many ways very unhappy people who met and fell in love with each other not at once.
Al Pacino played the chef Johnny, who by the will of fate got into prison and experienced a lot there. His character is not at all like the other roles of Al Pacino and this character became one of the best in the actor’s career. Johnny is a very sincere, open person who for a time lost the meaning of life, but found it in the waitress Frankie - the character of Michelle Pfeiffer.
Frankie is the most difficult character in the film. There have been too many disappointments and failures in her life, she is afraid of being alone, but being with someone is also hard for her. Michelle Pfeiffer played probably her best role in this film, literally living on the screen the difficult life of Frankie.
Although all the events of the film revolve around Frankie and Johnny, the film has many memorable characters, played by Kate Nelligan, Nathan Lane, Jane Morris and others who filled the tape with life characters. The beautiful soundtrack of Marvin Hamlish creates a perfectly romantic mood in the tape.
Charming, subtle humor, sparkling dialogues and an atmosphere of nostalgia will bring undoubted pleasure to the viewer. " Frankie and Johnny is a beautiful, sensual film, a real timeless romantic story, close to each of us.
10 out of 10
I can't promise that everything will be okay. But when trouble comes, I'll be there.
Who said that true love is found only in the upper world, in the midst of adventurers or the cream of society? And that a waitress and a cook, ordinary and banal people, like dirt under their feet, are not capable of high feelings? There is an opinion that passion is born only in an atmosphere of danger, prohibition and inadmissibility, or rather, we are used to such a situation where danger brings together, and the fear of exposure attracts two people to each other even more strongly. That may be true, but isn't this kind of passion more vulnerable once the barrier is removed? Those who find each other in the epicenter of events, just as quickly run away as soon as the lull comes. And they leave in search of new thrills.
And in the atmosphere of suffocating, oppressive life, it is much more difficult to preserve love. Uniformity kills, kills small quarrels due to lack of money, unfulfilled hopes, claims and elementary irritation over trifles. No matter what you say, heaven in a hut is not a popular concept, and being poor is not easy. Especially to love.
Harry Marshall says you can. And it is necessary, because the household is not a hindrance if you do not dwell on it, and money is not happiness when a close person is nearby. A former inmate finds work in a tiny New York diner. Behind Johnny in addition to serving a failed marriage and a lot of pressing problems. But he does not despair, does not dream of the big and the great, and is content with the small. He just wants to live like everyone else. Meets a waitress with a painful past, fragile and vulnerable. She loves her and wants to be with her for the rest of her life. But it's not that simple for Frankie. Stifled by fear and doubt, it is not easy for her to decide on a relationship. Scared and lost, she is afraid to change her life. I am afraid to find someone, and afraid to be alone. It's scary to work in a restaurant all my life, and it's scary to leave. But Johnny won't give up. Time after time, convincing her of the truth of his feelings, he tries to break into her heart. I can’t promise you that everything will be okay. But when the bad times come, I'll be there.
Al Pacino, young, energetic, long-haired, captivates from the first shots. Pfeiffer, small, timid, with a distrustful childish smile, generates sympathy and instant sympathy. She wants to be hugged and protected. Their relationship, fragile, fragile, at the same time so spiritual, touching, inspire faith in love. It exists on our land, and you can find it in a diner, on a bus, at a stop, in a queue for cigarettes. Isn't that great? Everyone wants a prince from a fairy tale, but looking at Johnny, he just goes to hell with a glass dream and agree to such a guy. We're all closed, complex, self-absorbed people who don't find it easy, like Frankie, to open their hearts to others. But if you don't take risks, what do you live for? Live to see the end?
The result: a piercing, dramatic story, “household melodrama”, which was often filmed in the late 80s, “opium for the people”. Poverty is not a hindrance to love, says Harry Marshall, and we believe him. Only then, for some reason, he creates “Pretty Woman” and “Princess Diaries”, glorifying the beautiful life and fabulous princes a la Gichard Gere. You're dark, Harry Marshall. Or is Dolce Vita capable of seducing even the most ardent supporters of paradise in a hut?
10 out of 10