Is Buona parte di Paolina Worth Watching? Honest Movie Review & Audience Verdict (1973)

The Narrative Arc & Core Premise

Buona parte di Paolina, a standout production of 1973, meticulously weaves its narrative threads through the Comedy landscape, offering a cinematic experience that is as challenging as it is rewarding. The primary thematic concern of the film is an investigation into Paulina, sister of Napoleon I, is married to Camillo Borghese, presented as a helpless coward. As the story unfolds, we are introduced to a world where the traditional boundaries of Comedy are tested.

The screenplay takes its time to establish the stakes, ensuring that every character motivation is grounded in a psychological reality. The synopsis only hints at the depth: "Paulina, sister of Napoleon I, is married to Camillo Borghese, presented as a helpless coward. She is eager to offer herself to all the young people that propose to her, and performs naked in front of the Roman people flocking to the walls of Villa Borghese, which she turned into a private residence. She also poses half naked for the famous statue of Canova, who is also presented as a effeminate and scoundrel. When her reputation as a depraved spreads, on the advice of the Pope, she is segregated away from all the men. when the French troops deport from Rome the Pope and the cardinals as well, Paulina sees prostitution as the only way to find herself some "fresh meat". Finally after seven years villa Borghese is reopened to the public, as Paulina goes back to Paris, to the great relief of the Roman people and the clerical circles."

Artistic Execution & Performance Study

A film's resonance is often dictated by the strength of its execution, both in front of and behind the camera. The presence of Antonia Santilli provides a necessary level of professionalism to the production, even when the underlying script struggles to maintain a consistent tone. It is a testament to their skill that they remain the most engaging element of the film.

The direction by Nello Rossati is marked by a steady and professional hand. From a production standpoint, the film meets the high standards of modern industrial filmmaking. The sets are well-crafted, and the visual effects are integrated with a level of polish that ensures the viewer matches the director's intended level of immersion. While perhaps not groundbreaking, the execution is flawless. The pacing, over its 82 minute runtime, allows the audience to fully inhabit the space the director has created, making the eventual resolution feel deeply earned.

Critical Assessment: Why You Should Watch

Is Buona parte di Paolina truly worth your investment of time and attention? In an era of disposable content, this film makes a strong case for its existence. If you are a connoisseur of Comedy, then this is a worthwhile watch if you have a specific interest in the themes or the performers involved.

The film's ability to perfectly execute its genre requirements is why it has earned its 2/10 score. It speaks to a global audience while maintaining a distinct and unique voice, a balance that is notoriously difficult to achieve in the modern marketplace.

Philosophical Subtext & Directorial Vision

At a deeper level, Buona parte di Paolina explores the dichotomy of truth and perception. The 1973 audience is increasingly sophisticated, and Nello Rossati respects this by refusing to provide easy answers to the story's complex questions.

The philosophical underpinnings of the second and third acts suggest a narrative that is interested in more than just entertainment. It is an exploration of what it means to be human in an increasingly complex world.

Final Editorial Recommendation

Ultimately, Buona parte di Paolina is an interesting experiment that, while flawed, offers enough moments of creative spark to be worth a casual glance for the curious. Whether you are drawn to it by the star power of Antonia Santilli or the critical acclaim surrounding its release, Buona parte di Paolina is a film that demands to be seen on the largest screen possible.