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RoGoPaG [Masters of Cinema] (Dual Format Edition) [Blu-ray] 
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SYNOPSIS: Conceived by the legendary Italian producer Alfredo Bini, the multi-director portmanteau film Let's Wash Our Brains: RoGoPaG [Laviamoci il cervello: RoGoPaG] brought together four giants of European cinema to contribute comic episodes reflective of the swinging post-"boom" era. The resulting omnibus collectively examines social anxieties around sex, nuclear war, religion, urbanisation - and the promise of a modern cinema.
Roberto Rossellini's Illibatezza [Virginity] follows an airline stewardess plagued by an obsessed American tourist whose 8mm camera enables the indulgence of a personal, and solipsistic, vision of the Ideal. Jean-Luc Godard's Il nuovo mondo [The New World] takes place in an Italian-dubbed Paris beset by nuclear fallout, and wittily chronicles the changes that take place in the lives - and medicine cabinet - of a handsome young couple. Pier Paolo Pasolini's scandalous La ricotta [Ricotta, as in the curded cheese] presents the goings-on around a film shoot devoted to the Crucifixion and presided over by none other than Orson Welles (playing a kind of stand-in for Pasolini himself); it is this episode that landed Pasolini with a suspended four-month prison sentence. Lastly, Ugo Gregoretti's Il pollo ruspante [Free-Range Chicken] depicts a middle-class Milanese family flirting with the purchase of real-estate and engaging catastrophically with an antagonistic consumerist infrastructure.
Let's Wash Our Brains: RoGoPaG remains one of the definitive entries of the Sixties vogue for the multi-auteur anthology film, and The Masters of Cinema Series is proud to present it for the very first time anywhere in the world on Blu-ray, in a Dual Format (Blu-ray + DVD) edition.
SPECIAL DUAL FORMAT (BLU-RAY + DVD) EDITION FEATURES:
- Gorgeous new HD restoration of the film in its original aspect ratio, in 1080p on the Blu-ray
- Newly translated optional English subtitles
- Original Italian theatrical trailer
- 56-page booklet featuring new essays by Tag Gallagher, Arthur Mas, Martial Pisani, and Pasquale Iannone; a new translation by Tag Gallagher of excerpts from an oral history about the film; and rare archival imagery
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Top Customer Reviews
It gets off to a poor start with Rossellini's at times surprisingly shoddily made Virginity. It compliments its poor back projection that resolutely fails to sell the idea that its' characters are in Thailand rather than on recycled sets in an Italian studio with a rather trite tale of Rosanna Schiaffino's air hostess being pursued by Bruce Balaban's enamoured American salesman. It takes forever to get going before heavy-handedly hammering home it's too neat conclusion about what really attracts him and what she needs to do to repel him. There are a couple of nice moments amid the product placement, particularly Balaban going through a checklist of how to talk to women and realising he's as ignorant of the concept of empathy as he is romantically clueless, but the episode is a bit like one of those forgettable non-conversations you have waiting in a queue at an airport boarding gate. Still, it does have one memorable exchange when it suddenly introduces two new characters with the solution to her problems via the magic of psychological diagnosis via home movies: "Of course, America and England are full of sex maniacs and stranglers." "Full, no. There's still a little space left.Read more ›
Essentially preoccupied with praising Communism and attacking sexism, mediocrity & the Catholic Church, this movie makes its points well – especially in the final segment – but descends into rhetorical ideology and formalistic denunciations of both materialism and Christianity.
These attacks leave no room for characterization and basic human warmth from the performers - who are merely required to mouthe the lines rather than make them come alive. Even worse given the quality on offer, particularly Rosanna Schiaffino, Alexandra Stewart, Orson Welles & Ugo Tognazzi.
Man is the subject of this film, not any particular man, hence the sacrilegious section on the Passion that so upset an overly sensitive Vatican - it shows Christ as more human than divine.