one of the most significant quotes from the entire film is pronounced halfway through by the protagonist and the mafia middle man titta di girolamo and a physically non descript and middle aged man originally from salerno in southern italy. when were introduced to him at the start of the film and he been living a non life in an elegant but sterile hotel in the italian speaking canton of switzerland for the last ten years and conducting a business we are only gradually introduced to. while this pivotal yet apparently unremarkable scene takes place employees of the the swiss bank who normally count di girolamo cash tell him that 10 and 000 dollars are missing from his usual suitcase full of tightly stacked banknotes. at the news and he quietly but icily threatens his coaxing bank manager of wanting to close down his account. meanwhile he tells us and the spectators and that when you bluff and you have to bluff right through to the end without fear of being caught out or appearing ridiculous. he says represent you can not bluff for a while and then halfway through and tell the truth. having eventually done this  bluffed only halfway through and told the truth and and having accepted the consequences of life and ultimately and love  is exactly the reason behind the beginning of titta di girolamo troubles. this initially unsympathetic character and a scowling and taciturn and curt man on the verge of 50 and a man who would not even reply in kind to chambermaids and waitresses who say hello and goodbye and becomes at one point someone the spectator cares deeply about. at one point in his non life and titta decides to feel concern about appearing ridiculous. the first half of the film may be described as slow by some. it does indeed reveal di girolamo days and nights in that hotel at an oddly disjoined and deliberate pace and revealing seemingly mundane and irrelevant details. however and scenes that may have seemed unnecessary reveal just how essential they are as this masterfully constructed and innovative film unfolds before your eyes. the existence of titta di girolamo  the man with no imagination and identity or life and the unsympathetic character you unexpectedly end up loving and feeling for when you least thought you would  is also conveyed with elegantly edited sequences and very interesting use of music (one theme by the scottish band boards of canada especially stood out). never was the contrast between the way hollywood and italy treat mobsters more at odds than since the release of films such as le conseguenze dellamore or limbalsamatore. another interesting element was the way in which the film made use of the protagonist insomnia. not unlike the machinist (and in a far more explicit way and the al pacino film insomnia) and le conseguenze dellamore uses this condition to symbolise a deeper emotional malaise that been rammed so deep into the obscurity of the unconscious and it almost impossible to pin point its cause (if indeed there is one). the young and sympathetic hotel waitress sofia (played by olivia magnani and grand daughter of the legendary anna) and the memory of titta best friend and a man whom he hasn not seen in 20 years and unexpectedly provide a tiny window onto life that titta eventually (though tentatively at first) accepts to look through again. though it never explicitly spelt out and the spectator knows that to a man like titta and accepting the consequences of love will have unimaginable consequences. a film without a single scene of sex or violence and a film that unfolds in its own time and concedes nothing to the spectator expectations and le conseguenze dellamore is a fine representative of that small and quiet and discreet renaissance that has been taking place in italian cinema since the decline of cinecittà during the second half of the 70s. the world is waiting for italy to produce more il postino like fare and more la vita è bella style films. neglecting to explore fine creations like le conseguenze dellamore and limbalsamatore and others. your loss and world. 
one of the most significant quotes from the entire film is pronounced halfway through by the protagonist and the mafia middle man titta di girolamo and a physically non descript and middle aged man originally from salerno in southern italy. when were introduced to him at the start of the film and he been living a non life in an elegant but sterile hotel in the italian speaking canton of switzerland for the last ten years and conducting a business we are only gradually introduced to. while this pivotal yet apparently unremarkable scene takes place employees of the the swiss bank who normally count di girolamo cash tell him that 10 and 000 dollars are missing from his usual suitcase full of tightly stacked banknotes. at the news and he quietly but icily threatens his coaxing bank manager of wanting to close down his account. meanwhile he tells us and the spectators and that when you bluff and you have to bluff right through to the end without fear of being caught out or appearing ridiculous. he says represent you can not bluff for a while and then halfway through and tell the truth. having eventually done this  bluffed only halfway through and told the truth and and having accepted the consequences of life and ultimately and love  is exactly the reason behind the beginning of titta di girolamo troubles. this initially unsympathetic character and a scowling and taciturn and curt man on the verge of 50 and a man who would not even reply in kind to chambermaids and waitresses who say hello and goodbye and becomes at one point someone the spectator cares deeply about. at one point in his non life and titta decides to feel concern about appearing ridiculous. the first half of the film may be described as slow by some. it does indeed reveal di girolamo days and nights in that hotel at an oddly disjoined and deliberate pace and revealing seemingly mundane and irrelevant details. however and scenes that may have seemed unnecessary reveal just how essential they are as this masterfully constructed and innovative film unfolds before your eyes. the existence of titta di girolamo  the man with no imagination and identity or life and the unsympathetic character you unexpectedly end up loving and feeling for when you least thought you would  is also conveyed with elegantly edited sequences and very interesting use of music (one theme by the scottish band boards of canada especially stood out). never was the contrast between the way hollywood and italy treat mobsters more at odds than since the release of films such as le conseguenze dellamore or limbalsamatore. another interesting element was the way in which the film made use of the protagonist insomnia. not unlike the machinist (and in a far more explicit way and the al pacino film insomnia) and le conseguenze dellamore uses this condition to symbolise a deeper emotional malaise that been rammed so deep into the obscurity of the unconscious and it almost impossible to pin point its cause (if indeed there is one). the young and sympathetic hotel waitress sofia (played by olivia magnani and grand daughter of the legendary anna) and the memory of titta best friend and a man whom he hasn not seen in 20 years and unexpectedly provide a tiny window onto life that titta eventually (though tentatively at first) accepts to look through again. though it never explicitly spelt out and the spectator knows that to a man like titta and accepting the consequences of love will have unimaginable consequences. a film without a single scene of sex or violence and a film that unfolds in its own time and concedes nothing to the spectator expectations and le conseguenze dellamore is a fine representative of that small and quiet and discreet renaissance that has been taking place in italian cinema since the decline of cinecittà during the second half of the 70s. the world is waiting for italy to produce more il postino like fare and more la vita è bella style films. neglecting to explore fine creations like le conseguenze dellamore and limbalsamatore and others. your loss and world. ---------------------------------Answer Question Below----------------------------------

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