User reviews

I found this film by accident and did not regret a moment watching it. Depression is a maladies of our times. Of the modern society. As well as bipolar disorder, these are some illnesses that people frown upon or are reluctant to discuss.

This movie depicts the effects of these diseases and shows more than one inconvenient truths. Balancing between the world of the ill and the real life, it shows how it is to live with a sickness like that and how little distance exists between these people and the ones that are considered healthy.

The leading actors were breathtaking. Being able to act as a bipolar in such a way is not an easy task. This movie has lessons in store for everyone that is interested in seeing what these people go through. And as far as statistics go, you probably have some people in your midst that deal or have dealt with similar issues.

This is not an easy movie. Don't get fooled by the "comedy" genre. It has some comic moments but it's mostly a punch in the stomach if you're up to the task of watching it.

Whenever I review a foreign language film, I fully realize many people won't bother watching the picture because it's not in English. This is a shame, as many of the better films I have seen have been in a variety of languages and with "Like Crazy", you'd be missing a very good movie.

The story begins in a psychiatric institution in Italy. Beatrice (Valeria Bruni Tedeschi) is a patient, though she won't admit this to anyone…even herself. In her distorted mind, she is a countess… and the old mansion used as a hospital was donated by her to treat these unfortunate people! So, while at times Beatrice looks and seems very normal, she is severely deluded and self-absorbed. When a new resident arrives, Beatrice decides to make Donatella (Micaela Ramazzotti) her own personal project. After all, she is a rich, benevolent lady and helping the unfortunates is her life! So how, exactly, does she 'help'? Yep…she orchestrates an escape and soon the oddly matched pair are out on a joy ride…complete with stolen car.

At this point in the movie, Paolo Virzi (who wrote and directed the picture) could have chosen to make the film a kooky comedy, like "Crazy People" or "The Couch Trip"…which is what you might expect with a Hollywood film. Fortunately, "Like Crazy" does not go there but manages to be rather poignant as well as realistic. You learn more about Beatrice and Donatella and their lives outside the institution but there are no magic solutions to their problems. After all, they are indeed very ill and mental illness isn't particularly funny…and is often quite tragic. Now this is not to say that ultimately this is a depressing or tragic film…and it manages to say quite a bit while still being believable and compelling.

At first you wonder what a woman like Beatrice Morandelli Valdirana is doing in the Villa Biondi, an institution for women with mental health problems in the Tuscan countryside. She claims to be a Countess, rich, well-connected and knowledgeable. A little bit of a busybody maybe, talkative, inquisitive and demanding but clearly intelligent. It's not long however before you're wondering what on earth they are thinking letting her out to do some part-time work at a plant nursery. Are they mad?

The difference is that Beatrice seems to have hit it off with a new 'inmate', Donatella Morelli, who has been brought in after a suicide attempt. Unlike Beatrice, Donatella is silent, withdrawn and nervous, and has no social connections and only one number on her phone. When the mini bus picking them up from the nursery is late one day, the two women decide to make their own way back; the long way, with a few amusing diversions along the way.

With two inmates from a mental health institution on the loose, you might think La Pazza Gioia (Like Crazy) is going to be something along the lines of 'The Dream Team' meets 'Thelma and Louise', and indeed the film plays up the crazy angle for all it's worth, with plenty of broad humour to be had in their encounters along the road and their chases from the authorities. Principally however, La Pazza Gioia is an actor's game, and Paolo Virzi is working with two of the best here, giving them great material to work with.

Beatrice is a gift of a role for Valeria Bruni Tedeschi, who has a successful career as an actor in France and Italy and has drawn on her own aristocratic background as the writer/director of 'Il est plus facile pour un chameau...' and 'Un château en Italie'. Give her broad and she'll expand to fill the role, demonstrating the full range of her abilities from comedy to drama, from melodrama to more subtle exchanges and sensitivities. The dynamic is stretched further in the contrasting role offered to Micaela Ramazzotti as Donatella, who is searching for her son who has been taken away from her and into care. This gives the film a little more dramatic poignancy than the premise might suggest.

More then than just being a buddy comedy or a vehicle for two great actors, it's the fact that there are two great performers in these roles that gives the film the necessary balance between comedy and more serious matters that are raised. La Pazza Gioia looks at some of the problems faced by women and how those troubles are not recognised or taken seriously in the no-nonsense modern world. It's enough to drive anyone crazy.

One of my top ten movies of all time is One Flew Over the Cuckoo's Nest. It still holds up 48 years after its' release. Crazy Life is sort of a step child of Milos Forman's masterpiece. While not as good as Jack Nicholson's best film, it is one of my favorite foreign films of the last ten years. Donatella and Beatrice are a couple of emotionally unstable women who meet at a mental hospital. They click on a shared level of being outcasts from normal society. The misfits team up for a really wild adventure. The actresses are tremendous, with a screen chemistry as good as I have ever seen. The script is both sad and funny, with a completely unpredictable story which kept me guessing from beginning to end. One slight drawback is the rapid fire dialogue here. If you do not speak Italian; and I don't, be prepared to speed read for two hours. Even with that, I highly recommend Crazy Life.

"A joyful madness" would have been a better translation for the international market. Such a surprisingly good film. Well, not entirely surprising because Paolo Virzì, from Tuscany, currently one of Italy's best directors, his movies always centred around interesting, well defined characters, masterfully mixing comedy and drama, in this case with heart breaking results. It helps that this screenplay has been written together with talented screenwriter and director Francesca Archibugi who, amongst other things, in 1990 directed Italian movie icon Marcello Mastroianni in the drama "Verso sera" (Towards Evening). Her contribution to this film must be acknowledged. The two leading actresses are excellent. Micaela Ramazzotti as the desperate mother who, amongst all sort of troubles, tries to get back in contact with her only son. Even better is Valeria Bruni Tedeschi, who is absolutely amazing as Donatella, the rich countess who struggles to cope with her mental disorders but who takes the younger Beatrice under her wing. When they run away from the psychiatric facility they are placed in by the authorities (perfectly depicted in typical human but caothic way) their foolish adventure begin. Such an intense, moving, touching film. Highly recommended.

One of the key players of current Italian cinema, Paolo Virzì's newest offering LIKE CRAZY brings audience to the sun-drenched Toscana, where nestles a home for the mentally unstable (a picturesque mise-en-scène peppered with creditable employees and patients), there we meet Beatrice (Tedeschi), a motormouth screwball who can compulsively babble on and on as long as she can find an audience, and Donatella (Ramazzotti, Ms. Virzì in real life), a diffident introvert masked by her tattoo-embroidered body and punk appearance, who is ailed by depression and a tendency of violence.

Beatrice befriends the newly arrived Donatella, who becomes the newest recipient of her predominantly one-sided pattering, but Beatrice also reciprocally brings a pint of energy into Donatella's colorless life, for the clinical aspect, they transmit salutary influences on each other, a defining vindication of the existence of such communal facilities. One day, during a field day, when their pick-up is late, Beatrice impulsively dashes to a bus with Donatella tagging along, against others' opposition, hence the duo embarks on a journey fueled by spontaneous decisions and devil-might-care drollness, if not wholly realistic, a similar mode of Ridley Scott's THELMA AND LOUSIE (1991) except that there will be no place for body count and radical feminist manifesto to temper Virzì's well wrought combo of farce and drama.

The onus of farcical bombast is aptly falls upon the shoulders of Ms. Tedeschi, and it is pretty much up her alley to conjure up an inexorably flamboyant character takes no prisoners in her maniacal loquacity, verbally challenges, needles, assaults everyone she meets or around her, which sometimes feels too specific for an Italian-speaking context, her "crazyness" is unequivocally the driven force of the duo's on-the-run caper, but at moments when sensibility and sagacity is required, e.g. during the conversation with the foster parents of Donatella's son, she can also function as a qualified interlocutor who is not self-absorbed and eloquent enough to make her points clear. Yes, Donatella has a toddler son which she has to forsake due to her unwell conditions, and it is through Donatella's back-story, where clichéd scenario of a woman buffeted by unworthy parents, atrocious sleazes and a traumatic severance between a mother and her son hits all the notes, life renders her completely helpless and disillusioned, but even so, miraculously, buoyed up by Beatrice's undimmed vivacity and "craziness", eventually Donatello procures a glimpse of hope in the faintly mawkish encounter with her unwitting tot, to predictably affix a non-confrontational ending to this ostensibly rebellious yarn against bureaucracy, authority, patriarchy and the Establishment.

Both actresses register impressive performances albeit the script isn't always coruscating with golden ideas, Tedeschi dominates in her unfettered oomph and gumption while Ramazzoti diametrically sears in her distressed transmogrification, but it is the former's all-out flair entrances audience, not just being a brazen laughing-stock, underneath Beatrice's grandiloquent veneer, there lies a dysfunctional human being dragged into neurosis and illusion through her own dopiness and those inimical exterior forces, from this regard, both are nevertheless victims on similar grounds, but ultimately, it seems, Virzì consciously cops out to unleash its sociological critique and instead, sends a more anodyne message of a circular conclusion without disturbing the status quo.

What a poor, non-requested and superficial rating from @dierregi; although the best thing about this platform is that everyone can express themselves, is so sad to read that. I advice to take @dierregi's review as an example : approach yourself to this movie in the opposite way!!! This is something about depression, loneliness, the fear of being unable to be back to a "normal life", the lack of consciousness about being unstable but also the great power of realizing it (see one of the last scene when Donatella confesses Beatrice, and herself too, what happened). This is also something about forgiveness, about giving a second chance and being mentally opened and ready to face reality, even if it's cruel, terrible, frightful. This is about a very difficult social phenomenon as well as a great lesson of embracing and not refusing.

To define madness starts by defining normalcy. 'La pazza gioia' (the English title is 'Like Crazy'), the film written and directed by Paolo Virzì in 2016 has as main heroines two women hospitalized in a sanatorium for psychiatric diseases. In general, films of this kind are characterized by an oppressive and depressing atmosphere, same as life in this kind of institutions is known to be. Not 'La pazza gioia'. To start with, the film present a candid and sympathetic point of view towards what is happening in the villa in Tuscany where the heroines are hospitalized. The story has rhythm and humor. As we get to know the two women, we begin to understand the motivations of their actions, from escaping from the closed (or semi-closed) premises they are constrained to the past with the actions that brought them into the situation of being psychiatric patients. Up to a point, the female 'road movie' formula with two women running away from their own destiny quite faithfully respects the formula in the best known classic original 'Thelma & Louise', with the characters dominating the film here as well, largely due to outstanding acting. The result is original and exciting.

At first glance, the two women are very different from each other. Beatrice Morandini (Valeria Bruni Tedeschi) assumes aristocratic manners and creates an imaginary world around her own person, a world in which she is the rich and the dominant one. Donatella Morelli (Micaela Ramazzotti) is closed in herself, she always seems in danger of self-harming, obviously hiding tremendous trauma. One is chic and neat even when her dresses fall badly, the other neglects herself. One is blonde, the other is brunette. The institution in which they are hospitalized seems liberal, tolerant, trying to help. Their running away is not the result of despair but rather the pursuit of a promordial instinct of the desire for freedom. However, the outside world turns out to be much more cruel than the one in the constrained space from which they had fled. Confronting the reality and the personal histories of each of them, which are gradually revealed to us, is more traumatic than the treatment inside. It would be tragic if everything wasn't approached in a comic register which is, well ... crazy. Undoubtedly, this is the right word.

The roles of lunatics often provide opportunities for remarkable acting performances, but it seems to me that in this film the two actresses have achieved something extraordinary. These are two roles of this kind, but the two actresses not only do not eclipse each other, but complement each other wonderfully in a relationship in which their traumas and despairs come together and generate emotion without falling into pathos or cheap melodrama. However, the film also features numerous scenes in which the comic of situations and characters offers opportunities for healthy laughter. The sunny and picturesque landscape of Tuscany that we know from so many films with touristic aromas provides the background of a corrupt and ruthless world, where the only chance and last refuge of the heroines is the psychiatric institution from which they fled. Paolo Virzì manages with 'La pazza gioia' a remarkable performance - a 'good feeling' movie about madness and despair.

I'm not a fan of movies that revolve around mentally ill people. Especially after the "politically correct" approach to how we should feel about such stories became a one-note song, the genre became more dull.

Even though this is thematically somewhere between Rain Man and Thelma and Louise, has a more natural, more organic feel to it. The acting is superb, and the colors of Tuscany shine all the way.

The story is neither too original nor too striking. It just holds together the moments and moods they have wanted to put forward, which is fine.

I cute if somewhat hysterical insight into broken people through the lens of a strangely chaotic Italian adventure/comedy/drama movie.

Well acted and surprisingly charming yet sad and uplifting.

Worth a watch for sure.

Donatella and Beatrice are what in our politically correct world is normally despised as "stereotyped weak females", but for some reasons they are beloved by critics and audience.

Both are delusional, with a very poor grasp of reality and rely on friends and relatives for financial and moral support. They don't accept any responsibility for their actions and blame the world at large for their misfortunes. Their contribution to the well-being of others is non-existent.

Donatella is from a rich family which she drove to bankruptcy thanks to her gambling and erratic behaviour. She also betrayed her husband with a common criminal who stole more money form her and she's still stalking the thug, despite him having made clear they're over.

Beatrice is a punk addict, nightclub dancer, covered in tattoos, from a broken family. Neither her mother or father have the will or inclination to care for her. She also produced a baby with a married man not inclined in the family ways. For reasons impossible to understand, we should believe that Beatrice could be a better parent than her own.

These two pathetic women embark in an escape from their mental facility and drive through a series of humiliating and cringe-worthy adventures, until the blah open ending. I give one star to the actresses who did a great job to portray two very unlikable characters, one to the music score and one to the costumes they wore at the end, nostalgic memorabilia of more stylish times.

I had a real problem reading most of the Subtitles. The white text faded into the scenes quite frequently throughout because it is too narrow a font, but also tiny. It flitted between the right side of the screen to the bottom middle in the beginning, which is hard to find when you don't know its moving on the screen.

The movie itself was great to watch the actors flesh out the characters as time went on. Their interpretations of the integrating characters stories was fascinating as the story progressed. And the continual dialogue was impressive, especially with the main character Beatrice & how her delusions drew everyone in, but there was also a sense of intelligence behind it. She was far from stupid, although sometimes annoying.

From the writer, director of 'Human Capital' fame. This is a road adventure that's filled with some fun, thrills and emotions. The story of two women and their unplanned journey to their unfinished businesses. Kind of self-discovery theme, but it gets a little crazy as what the title says. If you know Paolo Virzi and his films, then you know what to expect from it.

Well, it begins with when a new member Donatella at a mental institution was fooled by Beatrice, who was there for quite a some time. They might have differences, but have some unfinished affairs outside. An unlikely friendship blooms between them and one weekend, the situation favours them to get away. From there where their journey goes and how it all ends comes in the rest of the narration.

They both are not ill or the danger as they were institutionalised. Then why is what the film is going to narrate for us. Before that, it was initiated with a simple introduction of them and the situation they are in. It was really a good start, but then between the end of the first act and the beginning of the second was looked decent. Because that part was very familiar. You know, what do the people do when they runaway which were mostly wandering around and enjoying the freedom.

I thought it was a good film, not as I expected. Then, ever since the second half was on the roll, it got a lot better, in fact I started to love it. From a meaningless ride to something sensible topic, the narration comes to the point, what it was holding back in the earlier. Each woman's life revealed before to when this story had commenced. So the trip comes to an end when they do what's better for them and everybody around them. Kind of sad, though it concludes in a right way.

"A mother's love is all giving, never expecting anything in return."

The two lead actresses were amazing. Second back to back film for director with Valerina Bruni and she was even better than the previous film. Because the scope of her role was much bigger in this. I don't know I had seen her before, but Micaela Ramazotti was so good, by performance as well as glamorously. There's no way you could part them and say only one of them were good. I loved them both equally. Actually, that's how their characters were developed. The entire film was about them, and they left a mark to remember this film for them.

It's a good film, so I don't think it is an Oscar material as the Italian film board had already picked another film for that. But surely it going to win some international awards. If the same film was made in Hollywood, would have considered an average, because this one got the Italian flavour. The film gets crazy, in an Italian style, and in the perspective of the middle aged women. But it can enjoyed by everyone.

I have been watching a few good Italian films of the year, including this one. So I would definitely recommend it. Nearly two hours long, but the pace gets better while the story developed. Remember this is not the only kind, but one of the best among this theme you had ever seen. Ending the story with high emotional was so good, especially if you like that kind of material. I hope you won't miss it. Meanwhile, I'm so excited for the director who is making his first direct English language film. Looking forward to its release.

8/10

I consider myself a fan of Paolo Virzì movies and this one did not disappoint me. And yet, I always come back with that feeling that he seems to be always just a step away from an accomplished masterpiece. Like Crazy easily passes the minimum threshold of getting one involved and watch it to the end, in fact more than that. At 2 hours it's a longish movie whose end arrives sooner than expected. There's however something not quite fully realized in it, might it be the cutting, the repetition of certain schemes, the un-natural behavior of some of the characters. It's a bit like a poem where a few rhymes don't quite rhyme or the hidden meaning doesn't quite come through. The acting is certainly not to be faulted: if this were a Hollywood movie, Micaela Ramazzotti would have undoubtedly qualified for an Oscar nomination. Bruni Tedeschi is great too but a bit over the top here and there. A better cutting would have been a great help, too as some themes are a bit repetitive. Taking away some 5 or 10 minutes would have greatly improved the flowing of the narration. What can I say, I appreciate everything Virzì has done so far, he's surely a great director but I'm still expecting and betting that his best has yet to come.

To laugh and cry at the same time which is a rare quality for a film. Great dialogue, characters, story, very well done bravo!

Enchanting story of a wonderful friendship, where love proves again stronger than... everything else. Exquisite acting of Bruni Tedeschi and Ramazotti (and the rest). A joy, and a torment, to watch.

if you take any of the episodes in 'Wild Tales' & expand it to 118 minutes,you have the premise of this latest by Paolo Virzi('HUMAN CAPITAL');where Valerie takes the place of Bruno(Vittorio Gassman),a worldly wise nutjob who mentors another struggling mental patient to escape the nuthouse,& score free meals at restaurants, on a road trip w/ a similar car(Lancet Aurora Sport?);notice every time the car breaksdown(gas,flat tire, blown head gasket), a new one mysteriously pops up for the taking?

Almodovar(Spanish),Matteo Garrone(Italy),Virzi(Italy),&Christian Petzhold(Germany)are able to milk the human condition more accurately than their celluloid Hollywood blockbuster counterparts. Virzi planning to film a send up to period dramas?Valerie Bruni Tedeschi, & micaela Razzamotti are inmates who escape a lunatic asylum near Leichester estates,& don discarded clothing to masquerade as Michelle Dockery as Lady something-something, & WREAK HAVOC on the waitstaff?; a Groucho Marx send up: 'A NIGHT AT THE DOWNTON ABBY'?;

Anyways, investigators have found traces of a 'wild-tales' accelerant used in the firestorm comedy, Almodovar, & Virzi, once legitimate filmmakers,now on the lam(serial comedy arsonists?); if you see these fugitives at large,contact your local Cannes Film Festival FBI office.. ..HUMAN CAPITAL=insurance companies,using google search algorithms can calculate insurance settlements,calculating the deceased's net worth in compensation claims, taking into account the victim's education level,years of employment, relevant job skills, emotional bonds within the community, any past criminal history, number of siblings,or surviving family members; reducing a person to a commodity?>>

Camerawork, script, acting all superb in this flight for freedom no simply the minds but physical too you feel what the characters have endured and their present predicaments which seem somehow realistically poignant...life shouldn't be take too seriously...itself being slightly insane.