{"id":2611,"date":"2011-06-14T12:53:51","date_gmt":"2011-06-14T12:53:51","guid":{"rendered":"http:\/\/www.thewildeye.co.uk\/blog\/?p=2611"},"modified":"2011-06-14T12:53:51","modified_gmt":"2011-06-14T12:53:51","slug":"at-a-glance","status":"publish","type":"post","link":"http:\/\/www.thewildeye.co.uk\/blog\/reviews\/at-a-glance\/","title":{"rendered":"At a Glance"},"content":{"rendered":"
\"At<\/a>
At a Glance aka Colpo d'occhio<\/figcaption><\/figure>\n

Aka Colpo d’occhio
\n2008
\nOriginal running time: 110 minutes
\nItaly
\nProduced by Riccardo Tozzi, Marco Chimenz & Giovanni Stabilini for Cattleya & RAI Cinema
\nRelease date: 20-03-2008
\nDirector: Sergio Rubini
\nStory: Angelo Pasquini, Carla Cavalluzzi, Sergio Rubini
\nScreenplay: Angelo Pasquini, Carla Cavalluzzi, Sergio Rubini
\nCinematography: Vladan Radovic
\nMusic: Pino Donaggio
\nEditor: Giogi\u00f2 Franchini
\nArt director: Luca Gobbi
\nCast: Sergio Rubini (Lulli), Riccardo Scamarcio (Adrian), Vittoria Puccini (Gloria), Richard Sammel (Svensson), Paola Barale (Sonia), Emanuele Salce (Righi), Giancarlo Ratti (Nicola), Giorgio Colangeli (policeman), Alexandra Prusa (Emma Bauer), Flavio Parenti (Claudio)<\/p>\n

At a Glance <\/strong>is the ninth film of Sergio Rubini, a talented actor who has appeared in films like Intervista <\/strong>(87), Nirvana <\/strong>(97) and The Talented Mr. Ripley <\/strong>(99).\u00a0 His directorial output tends towards the melodramatic and, despite picking up plaudits for films such as La stazione <\/strong>(90) and La bionda <\/strong>(96), not much of it has travelled well outside of Italy.<\/p>\n

Renowned curator and critic Lulli (Sergio Rubini) is scouting around galleries for new artworks to feature in a high-profile exhibition, accompanied by his rather glamorous and much younger girlfriend, Gloria (Vittoria Puccini).\u00a0 Most of the stuff they come across is complete rubbish (which, in the real world, means it would have the potential to be a big seller), but she’s rather taken with the sculptures made by an unknown artist called Adrian (Riccardo Scamarcia).\u00a0 She’s also rather taken with Adrian himself, and the two of them start having an affair; all of which understandably leads her to question her relationship with Lulli, and she decides to end it by slipping a ‘Dear John’ letter under his door.<\/p>\n

\"Riccardo<\/a>
Riccardo Scamarcia and Vittoria Puccini in At a Glance<\/figcaption><\/figure>\n

Before long, she and Adrian are living together in his handy rustic farmhouse, but what would otherwise be a blissful life is handicapped by a couple of serious issues.\u00a0 Firstly, Gloria, who is haunted by\u00a0 unclear events from her childhood, rapidly becomes pregnant.\u00a0 Secondly, Lulli, who has just recovered from a serious car accident \u2013 which was quite possibly the result of a suicide attempt \u2013 ‘coincidentally’ starts representing Adrian, helping to get him some high profile commissions and make his name.\u00a0 Despite his claims to have moved on from the past, Lulli’s continued presence in their life only serves to unnerve Gloria.<\/p>\n

And it seems she might be on to something: Lulli seems to take an unwholesome pleasure in Adrian’s need for his patronage, even alienating him from his oldest friend, Claudio (Flavio Parenti).\u00a0 And at the point when he is most vulnerable \u2013 when his first exhibition is due to start and Gloria has suffered a miscarriage \u2013 Lulli starts doing everything he can to destroy him.<\/p>\n

This is a decently made but not particularly fast moving film, which suffers from the fact that almost the entire cast are either idiots or arrogant tossers.\u00a0 Unfortunately, films set among the cultural cognoscenti tend to suffer from a similar problem as films set in the media or in law firms: they\u2019re full of self-obsessed people who frankly aren\u2019t all that likeable.\u00a0 In fact, the more interesting characters \u2013 Claudio and Righi, a former artist who now works as Lulli’s assistant (aka spooky henchman) \u2013 only go to show just how dull and tedious everyone else is.<\/p>\n

The subject \u2013 the parasitical relationship between artists and critics, and how the latter can destroy the former for reasons that have little to do with artistic merit (or lack thereof) \u2013 is interesting enough.\u00a0 But a lot of the running time is taken up with the politics of success in the art world, a topic which is mildly interesting rather than gripping.\u00a0 However, one thing the film does make clear is that naff art isn’t just the preserve of the Young British Artists; there’s so much terrible stuff on display here it makes the Chapman Brothers look like Raphael & Michealangelo.<\/p>\n

\"Riccardo<\/a>
Riccardo Scamarcia and some bad art in At a Glance<\/figcaption><\/figure>\n

Given all this, it\u2019s not a bad film, certainly not as terrible as some internet reviewers have made out, possibly mistaking it for a thriller rather than a psychological drama.\u00a0 It also gets a lot better as the running time progresses, working up a considerable head of steam as it reaches it\u2019s melodramatic climax.\u00a0 Sergio Rubini\u2019s direction is competent and occasionally stylish, and he puts in an impressive performance as the manipulative, monstrous Lulli.\u00a0 Puccini & Scamarcia are rather less effective; Scamarcia is a good actor, but he\u2019s amazingly over the top here, while Puccini is simply a vacuum.<\/p>\n

At a Glance <\/strong>was obviously made with some backing \u2013 it apparently suffered from some shooting problems and went over-budget \u2013 and it looks pretty good, even if Pino Donaggio\u2019s soundtrack is amazingly inappropriate.\u00a0 According to Rubini: \u201cIt all really began with Scamarcio. I knew that he was rather fond of me and I thought: \u201cBut let\u2019s see if this young man who finds a point of reference in me, a big brother figure, would be able to find a person who deep down would secretly kill him.\u201d This film is in a way the dramatisation of a negative thought.\u201d\u00a0 It did moderately well on release, taking approximately \u20ac2 million (not bad for an Italian film which isn\u2019t a comedy).<\/p>\n

Here’s the trailer:<\/p>\n

\n

<\/p>\n

AT A GLANCE<\/span><\/strong><\/p>\n

<\/span><\/strong><\/p>\n

Aka Colpo d’occhio<\/span><\/p>\n

2007<\/span><\/p>\n

Original running time: 110 minutes<\/span><\/p>\n

Italy<\/span><\/p>\n

Colore <\/span>C<\/span><\/p>\n

Produced by Riccardo Tozzi, Marco Chimenz & Giovanni Stabilini for Cattleya & RAI Cinema <\/span><\/span><\/p>\n

Release date: 20-03-2008<\/span><\/p>\n

Director: Sergio Rubini <\/span> <\/span><\/p>\n

Story: Angelo Pasquini, Carla Cavalluzzi, Sergio Rubini <\/span> <\/span><\/p>\n

Screenplay: Angelo Pasquini, Carla Cavalluzzi, Sergio Rubini <\/span> <\/span><\/p>\n

Cinematography: Vladan Radovic <\/span> <\/span><\/p>\n

Music: Pino Donaggio <\/span> <\/span><\/p>\n

Editor: Giogi\u00f2 Franchini <\/span> <\/span><\/p>\n

Art director: Luca Gobbi <\/span> <\/span><\/p>\n

Cast: Sergio Rubini (Lulli), Riccardo Scamarcio (Adrian), Vittoria Puccini (Gloria), Richard Sammel (Svensson), Paola Barale (Sonia), Emanuele Salce (Righi), Giancarlo Ratti (Nicola), Giorgio Colangeli (policeman), Alexandra Prusa (Emma Bauer), Flavio Parenti (Claudio)<\/span><\/p>\n

<\/span><\/p>\n

<\/span><\/p>\n

At a Glance <\/span><\/strong>is the ninth film of Sergio Rubini, a talented actor who has appeared in films like Intervista <\/strong>(87), Nirvana <\/strong>(97) and The Talented Mr. Ripley <\/strong>(99). <\/span>His directorial output tends towards the melodramatic and, despite picking up plaudits for films such as La stazione <\/strong>(90) and La bionda <\/strong>(96), not much of it has travelled well outside of Italy. <\/span><\/span><\/p>\n

<\/span><\/p>\n

Renowned curator and critic Lulli (Sergio Rubini) is scouting around galleries for new artworks to feature in a high-profile exhibition, accompanied by his rather glamorous and much younger girlfriend, Gloria (Vittoria Puccini). <\/span>Most of the stuff they come across is complete rubbish (which, in the real world, means it would have the potential to be a big seller), but she’s rather taken with the sculptures made by an unknown artist called Adrian (Riccardo Scamarcia). <\/span>She’s also rather taken with Adrian himself, and the two of them start having an affair; all of which understandably leads her to question her relationship with Lulli, and she decides to end it by slipping a ‘Dear John’ letter under his door.<\/span><\/p>\n

<\/span><\/p>\n

Before long, she and Adrian are living together in his handy rustic farmhouse, but what would otherwise be a blissful life is handicapped by a couple of serious issues. <\/span>Firstly, Gloria, who is haunted by <\/span>unclear events from her childhood, rapidly becomes pregnant. <\/span>Secondly, Lulli, who has just recovered from a serious car accident \u2013 which was quite possibly the result of a suicide attempt \u2013 ‘coincidentally’ starts representing Adrian, helping to get him some high profile commissions and make his name. <\/span>Despite his claims to have moved on from the past, Lulli’s continued presence in their life only serves to unnerve Gloria.<\/span><\/p>\n

<\/span><\/p>\n

And it seems she might be on to something: Lulli seems to take an unwholesome pleasure in Adrian’s need for his patronage, even alienating him from his oldest friend, Claudio (Flavio Parenti). <\/span>And at the point when he is most vulnerable \u2013 when his first exhibition is due to start and Gloria has suffered a miscarriage \u2013 Lulli starts doing everything he can to destroy him. <\/span><\/p>\n

<\/span><\/p>\n

This is a decently made but not particularly fast moving film, which suffers from the fact that almost the entire cast are either idiots or arrogant tossers. <\/span>Unfortunately, films set among the cultural cognoscenti tend to suffer from a similar problem as films set in the media or in law firms: they\u2019re full of self-obsessed people who frankly aren\u2019t all that likeable. <\/span>In fact, the more interesting characters \u2013 Claudio and Righi, a former artist who now works as Lulli’s assistant (aka spooky henchman) \u2013 only go to show just how dull and tedious everyone else is. <\/span><\/span><\/p>\n

<\/span><\/p>\n

The subject \u2013 the parasitical relationship between artists and critics, and how the latter can destroy the former for reasons that have little to do with artistic merit (or lack thereof) \u2013 is interesting enough. <\/span>But a lot of the running time is taken up with the politics of success in the art world, a topic which is mildly interesting rather than gripping. <\/span>However, one thing the film does make clear is that naff art isn’t just the preserve of the Young British Artists; there’s so much terrible stuff on display here it makes the Chapman Brothers look like Raphael & Michealangelo. <\/span><\/p>\n

<\/span><\/p>\n

Given all this, it\u2019s not a bad film, certainly not as terrible as some internet reviewers have made out, possibly mistaking it for a thriller rather than a psychological drama. <\/span>It also gets a lot better as the running time progresses, working up a considerable head of steam as it reaches it\u2019s melodramatic climax. <\/span>Sergio Rubini\u2019s direction is competent and occasionally stylish, and he puts in an impressive performance as the manipulative, monstrous Lulli. <\/span>Puccini & Scamarcia are rather less effective; Scamarcia is a good actor, but he\u2019s amazingly over the top here, while Puccini is simply a vacuum. <\/span><\/span><\/p>\n

<\/span><\/p>\n

At a Glance <\/span><\/strong>was obviously made with some backing \u2013 it apparently suffered from some shooting problems and went over-budget \u2013 and it looks pretty good, even if Pino Donaggio\u2019s soundtrack is amazingly inappropriate. <\/span>According to Rubini: \u201cIt<\/span><\/p>\n

Aka Colpo d’occhio
\nOriginal running time: 110 minutes
\nItaly
\nProduced by Riccardo Tozzi, Marco Chimenz & Giovanni Stabilini for Cattleya & RAI Cinema
\nRelease date: 20-03-2008
\nDirector: Sergio Rubini
\nStory: Angelo Pasquini, Carla Cavalluzzi, Sergio Rubini
\nScreenplay: Angelo Pasquini, Carla Cavalluzzi, Sergio Rubini
\nCinematography: Vladan Radovic
\nMusic: Pino Donaggio
\nEditor: Giogi\u00f2 Franchini
\nArt director: Luca Gobbi
\nCast: Sergio Rubini (Lulli), Riccardo Scamarcio (Adrian), Vittoria Puccini (Gloria), Richard Sammel (Svensson), Paola Barale (Sonia), Emanuele Salce (Righi), Giancarlo Ratti (Nicola), Giorgio Colangeli (policeman), Alexandra Prusa (Emma Bauer), Flavio Parenti (Claudio)<\/p>\n

At a Glance <\/strong>is the ninth film of Sergio Rubini, a talented actor who has appeared in films like Intervista <\/strong>(87), Nirvana <\/strong>(97) and The Talented Mr. Ripley <\/strong>(99).\u00a0 His directorial output tends towards the melodramatic and, despite picking up plaudits for films such as La stazione <\/strong>(90) and La bionda <\/strong>(96), not much of it has travelled well outside of Italy.Renowned curator and critic Lulli (Sergio Rubini) is scouting around galleries for new artworks to feature in a high-profile exhibition, accompanied by his rather glamorous and much younger girlfriend, Gloria (Vittoria Puccini).\u00a0 Most of the stuff they come across is complete rubbish (which, in the real world, means it would have the potential to be a big seller), but she’s rather taken with the sculptures made by an unknown artist called Adrian (Riccardo Scamarcia).\u00a0 She’s also rather taken with Adrian himself, and the two of them start having an affair; all of which understandably leads her to question her relationship with Lulli, and she decides to end it by slipping a ‘Dear John’ letter under his door.<\/p>\n

Before long, she and Adrian are living together in his handy rustic farmhouse, but what would otherwise be a blissful life is handicapped by a couple of serious issues.\u00a0 Firstly, Gloria, who is haunted by\u00a0 unclear events from her childhood, rapidly becomes pregnant.\u00a0 Secondly, Lulli, who has just recovered from a serious car accident \u2013 which was quite possibly the result of a suicide attempt \u2013 ‘coincidentally’ starts representing Adrian, helping to get him some high profile commissions and make his name.\u00a0 Despite his claims to have moved on from the past, Lulli’s continued presence in their life only serves to unnerve Gloria.<\/p>\n

And it seems she might be on to something: Lulli seems to take an unwholesome pleasure in Adrian’s need for his patronage, even alienating him from his oldest friend, Claudio (Flavio Parenti).\u00a0 And at the point when he is most vulnerable \u2013 when his first exhibition is due to start and Gloria has suffered a miscarriage \u2013 Lulli starts doing everything he can to destroy him.<\/p>\n

This is a decently made but not particularly fast moving film, which suffers from the fact that almost the entire cast are either idiots or arrogant tossers.\u00a0 Unfortunately, films set among the cultural cognoscenti tend to suffer from a similar problem as films set in the media or in law firms: they\u2019re full of self-obsessed people who frankly aren\u2019t all that likeable.\u00a0 In fact, the more interesting characters \u2013 Claudio and Righi, a former artist who now works as Lulli’s assistant (aka spooky henchman) \u2013 only go to show just how dull and tedious everyone else is.<\/p>\n

The subject \u2013 the parasitical relationship between artists and critics, and how the latter can destroy the former for reasons that have little to do with artistic merit (or lack thereof) \u2013 is interesting enough.\u00a0 But a lot of the running time is taken up with the politics of success in the art world, a topic which is mildly interesting rather than gripping.\u00a0 However, one thing the film does make clear is that naff art isn’t just the preserve of the Young British Artists; there’s so much terrible stuff on display here it makes the Chapman Brothers look like Raphael & Michealangelo.<\/p>\n

Given all this, it\u2019s not a bad film, certainly not as terrible as some internet reviewers have made out, possibly mistaking it for a thriller rather than a psychological drama.\u00a0 It also gets a lot better as the running time progresses, working up a considerable head of steam as it reaches it\u2019s melodramatic climax.\u00a0 Sergio Rubini\u2019s direction is competent and occasionally stylish, and he puts in an impressive performance as the manipulative, monstrous Lulli.\u00a0 Puccini & Scamarcia are rather less effective; Scamarcia is a good actor, but he\u2019s amazingly over the top here, while Puccini is simply a vacuum.<\/p>\n

At a Glance <\/strong>was obviously made with some backing \u2013 it apparently suffered from some shooting problems and went over-budget \u2013 and it looks pretty good, even if Pino Donaggio\u2019s soundtrack is amazingly inappropriate.\u00a0 According to Rubini: \u201cIt all really began with Scamarcio. I knew that he was rather fond of me and I thought: \u201cBut let\u2019s see if this young man who finds a point of reference in me, a big brother figure, would be able to find a person who deep down would secretly kill him.\u201d This film is in a way the dramatisation of a negative thought.\u201d\u00a0 It did moderately well on release, taking approximately \u20ac2 million (not bad for an Italian film which isn\u2019t a comedy).<\/p>\n

all really began with Scamarcio. I knew that he was rather fond of me and I thought: \u201cBut let\u2019s see if this young man who finds a point of reference in me, a big brother figure, would be able to find a person who deep down would secretly kill him.\u201d This film is in a way the dramatisation of a negative thought.\u201d <\/span>It did moderately well on release, taking approximately \u20ac2 million (not bad for an Italian film which isn\u2019t a comedy).<\/span><\/p>\n<\/div>\n

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At a Glance is the ninth film directed by Sergio Rubini, a talented actor who has appeared in films like Intervista (87), Nirvana (97) and The Talented Mr. Ripley (99). <\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[8],"tags":[911,910],"_links":{"self":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/2611"}],"collection":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/comments?post=2611"}],"version-history":[{"count":3,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/2611\/revisions"}],"predecessor-version":[{"id":2617,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/2611\/revisions\/2617"}],"wp:attachment":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/media?parent=2611"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/categories?post=2611"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/tags?post=2611"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}