Ferdinando and Carolina

Lina Wertmüller returns to her oldest obsessions – sexuality and politics and where/how they converge – in Ferdinando and Carolina. Yet Wertmüller’s film is malformed and various maneuvers are poorly explained to the audience so the narrative remains indecipherable. It’s quite simple, Ferdinando and Carolina are poorly thought out as characters leaving a hole in the center that the film cannot overcome.

Playing fast and loose with history, this film tells the story of the King of Naples’ wandering and insatiable cock and the virginal queen who conquers him with the power of his pussy. Her transition from blushing bride to controlling shrew is near instantaneous as her hymen breaks and the switch happens. We’re led to believe that he’s obsessed with her to the point where she haunts him on his deathbed. We never feel this eroticism or manipulation.

What we do feel is Wertmüller’s obsession with supple flesh and carnality as the naughty scenes abound. Hell, this movie proves that she’s not above a fart joke this late in her career. Where this movie should be intoxicating us with nubile bodies cavorting about and political machinations underscoring all that communing, Ferdinando and Carolina loses us with these underwritten leads that feel like brief character sketches instead of fully developed ideas.

At least Wertmüller’s camera is populated with lush and gorgeous set designs and locations. If the script loses our interests at least there’s plenty of beauty to keep your interest and catch your eye. Although, this is proof positive that their can come a point where sex and nudity become nearly antithetical to your overall point.