Tre di Troppo, the review: a comedy with good intentions but with too many gags

The review of Tre di Troppo: Fabio De Luigi directs (and plays) an “if comedy” with good intentions, while remaining clinging to the (outdated) concept of gags and the unexpected. Positive note, however important: despite the thorny subject, a fair balance is maintained. Female protagonist, Virginia Raffaele.

A curse, three children, and a strange stork. In our review of Three too manydirected by Fabio De Luigi, we must necessarily start from one of the most interesting notes of the screenplay: it is a film that does not take sides. It would have been easy, yet the writing avoids unnecessary factions making the comedy suitable for adults and children, and then appreciable (at least on paper) by both those who have children and those who don’t. At the base, in fact, there is the usual misunderstanding of the case (a legacy that accompanies at least 80% of Italian comedies) which becomes a sort of “What would have happened itself”.

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Three too many: a scene from the film

Following the example of if comedy American-style (comes to mind The Family Man), Three too many plays with the unexpected seasoned with a pinch of fantasy, quickly changing into a family move with positive vibes, which, as often happens, get stuck in a script that too often pursues the gag rather than greater cohesion and greater fluidity between scenes and narrative choices present in the screenplay signed by Michele Abatantuono, Lara Prando and by De Luigi himself. Here, net of his sacrosanct task (to entertain), Three too many it works to the extent that we don’t dwell on the comic factor, but on the more emotional, intimate, polite and surreal one. In short, the typical ropes of Fabio De Luigi, who then carves out the role of male protagonist, choosing alongside him Virginia Raphaelwho (re) approaches acting since the days of the Rai series Like when it’s raining outside (it was 2018).

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Three too many: a scene from the film

Curse of the… stork!

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Three too many: a scene from the film

As mentioned, Three too many it starts from a pretext to then generate the dynamics that accompany the vision: the protagonists are Marco (Fabio De Luigi) and Giulia (Virginia Raffaele), he a barber and she chief clerk of a department store. They dress fashionably, love to dance, keep fit and are constantly surrounded by a snobbish aura. More simply, they divide the world in two: on the one hand the exhausted parents struggling with their children, and on the other those who don’t have them, free to enjoy life. Marco and Giulia, in fact, are careful not to have offspring in tow, and indeed look with compassion at those friends grappling with baby food, baby food and improbable birthday parties.

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Three too many: a scene from the film

Just during a birthday – by the way organized by them! – the couple falls into an absurd curse: the next morning, suddenly and without explanation, their life is totally turned upside down. Like? They wake up with three beautiful children aged 10, 9 and 6 (played by the young and talented Greta Santi, Valerio Marzi, Francesco Quezada) who call them… mum and dad. Disbelief, fear and a single goal for Marco and Giulia: to get rid of it and go back to life as before. Of course, as a rule, it won’t be easy, and the unexpected ends up following one another.

Fabio De Luigi and Virginia Raffaele guests of Fabio Fazio to present Three too many

Too many gags but a great understanding between De Luigi and Raffaele

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Three too many: a scene from the film

Here, the unexpected. As with the misunderstanding, the unexpected is one of the pillars of our contemporary comedy which, as demonstrated Three too many, has now turned towards the film-for-the-whole-family. The reason? You try to grab as wide an audience as possible, the typical one for relaxed viewing. All right, all permitted (God forbid), but the archetypes of the misunderstanding and the unexpected should in any case be dosed, inserted contextually in the action and in the staging, without the action itself being commented on by a constant soundtrack that explains the intentions.

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Three too many: a scene from the film

Because then the quality is there, there would be: Three too many works when the intuitions are organic to the turning points and the evolution of the characters (the gem of the stork in rabbit style of Donnie Darko is remarkable!), and vice versa slips when easy laughter is spasmodically pursued (the gag of the stinky dog ​​is never funny, it is decidedly out of place and could even convey a superficial message) which, precisely because of its structural fragility, gets lost sometimes it overwhelms the very good intentions. Good intentions that find their main strength in the alchemy between Fabio De Luigi and Virginia Raffaele, as good at juggling as they are very good at emotional and empathetic transport in relation to the family dimension. A dimension, as mentioned, which does not take sides with anyone, but rather tackles one of the most slippery topics there are with tact, simplicity and honesty.

Conclusions

Closing the review of Tre di Troppo, we continue to underline the strong alchemy between Fabio De Luigi and Virginia Raffale, the tonal balance (it wasn’t easy) and a good ending. Excellent intentions and excellent elements, however obscured by a constant search for gags and easy laughs (which never arrive).

Because we like it

  • Fabio De Luigi and Virginia Raffaele.
  • There is a certain thematic balance, it wasn’t easy.
  • The three children protagonists.
  • Donnie Darko-style stork.

What’s wrong

  • The gag and the easy laugh are chased too much.
  • Some gags, by the way, aren’t funny. And the one about the stinky dog ​​is definitely out of place.

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