robytdd "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.

MartinHafer 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.

lasttimeisaw 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.

palavitsinis 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.