Plagiarism by the Taviani brothers 1968, the student revolution in May. A young couple Massimo and Angelo witness the boy being beaten by a group of good guys. The girl pushes her young man to intervene, and after the intervention, all three manage to escape from hooligans, however, at the cost of a broken headlight. But the trouble with the car doesn’t end there. After the incident, all three go to the police station. Rescued boy Guido says he left his papers in their car, takes Massimo's keys and disappears with the car. But Massimo borrowed the car from a wealthy university friend, who in turn borrowed it from his father, who is now rampant. Newspapers are full of headlines about a cunning car thief, but one day, when Massimo and Angela kiss in some secluded corner of the night city, their privacy breaks Guido, who returns them to a renovated car and, learning that the lovers do not have their own nest in Rome, invites them to live with him. Not immediately, the characters learn that Guido is the owner of a huge mansion and is about to become also the owner of the family business, which must go to him from the guardians after the death of his parents.
Giving Massimo and Angela housing, Guido seduces Angela, but does everything to Massimo learned about their relationship as soon as possible. Suffering from deep, hypertrophied loneliness, Guido wants to connect spiritually and physically not only with Angela, but also with Massimo. And there is something hopeless and suicidal about this attempt. Only in the finale will be explained the strange behavior of Guido, when the viewer learns that the death of his parents in a car accident was far from accidental.
Sergio Caponha directed a subtle psychological drama, forcing the actors to play in a special manner. Ray Lovelock, the Guido actor who I personally never liked in other films, showed himself to be a very serious and skillful actor in this film. If the director rarely changed his sense of taste in the absolutely illegal use of rock music, there would be nothing to complain about in the film. However, after watching there is a painful feeling not only because of the plot. Ten years later, Paolo and Vittorio Taviani, in one of their best films, The Meadow, to my deep regret, completely repeated Capogna’s peculiar directorial style. And although their directing is somewhat more integral - still two brothers, and heavy rock replaced the amazing theme of Morricone, bloody plagiarism is evident, which automatically removes Taviani from the category of great author directors of category "A". And the title of the picture as if unambiguously indicates the visionary abilities of the director, apparently anticipating plagiarism not only in the almost detective intricacy of the plot of his film.
7 out of 10