Filippo Timi and Sebastiano Mauri's FAIRYTALE hits digital and DVD here in the USA

If you tend to be a sucker for very strange cinema (as am I), you probably won't find an odder example than FAIRYTALE (Favola), the Italian movie from 2017 based on the popular stage play by actor and sometimes writer Filippo Timi, one of my favorite performers, whom we get to see far too seldom here in the USA. TrustMovies interviewed Signore Timi back in 2010, when he played the role of Mussolini in Marco Bellocchio's Vincere. Versatile in the extreme, he sometimes proves nearly unrecognizable from movie to movie.

In the case of Fairytale, Timi (above, left) has co-written the screenplay (with the film's director, Sebastiano Mauri, above, right) as well as essaying the leading role of Mrs. Fairytale, an American housewife in the 1950s who is, pretty much unbeknownst (initially, even to herself), going through a process of heavy-duty self-discovery. On one level, this involves everything from mere temptation to adultery and murder, on yet another, it embraces cross-dressing, transgender, homosexuality, heterosexuality, pansexuality, depression and (societal-induced) mental illness.

As the film opens, our heroine (above) is flitting around her very 1950s home (as envisioned by Italians of the 21st Century), and all by themselves, the costumes, set and production design are reason enough to sit through this gloriously cockeyed movie. So is the tiny taxidermy-mounted poodle, Lady, who begins this bizarre concoction (in animated form) and then stays with us throughout, as some weird kind of security blanket for our thoroughly addled homemaker.

In addition to the eye-popping decor, we also get a dose of just about all your could ask from a film about America in the 50s: Doris Day, UFOs, straying husbands, unfaithful wives, the mambo and Douglas Sirk/Ross Hunter-inspired melodrama. As an encyclopedia of movie knowledge and references, we get quite a lot from Fairytale, too, including Mildred Pierce (below) and All About Eve (further below).

Timi is pretty much the whole show and he is, as always, exraordinary, but very good support is provided by Lucia Mascino (above and at bottom) as the next-door neighbor and friend who becomes quite a bit more over time,

and by Luca Santagostino (below, playing triplet brothers in this neighborhood with flair and versatility). And although daddy issues don't seem to raise their head in the course of the film,

mommy issues certainly do, via the funny, incisive performance of Piera Degli Esposti (below), in the role of Fairytale's rather commanding mother. As lunatic as the movie is, start to finish, it's also clearly trying to persuade audiences to think longer, harder and more pointedly about gender, the roles we assign to this, and the somewhat "iffy" results we continue to get.

While the USA, France and other western countries have all made their own mark on the subject, Fairytale seems to me the very peculiar Italian version of it all.

The fact the Signore Timi, whom I have found to be -- both on screen and in person -- among the "straightest," most "male" and powerful of actors and personalities has been, according to the IMDB, married to the film's director, Signore Mauri, for the past four years would seem to indicate that he has found his own gender-bending way to deal with all this. More power to him!

From Breaking Glass Pictures and running just 90 minutes, Fairytale makes its DVD and VOD debut this coming Tuesday, May 12 -- for purchase and/or rental. It's over-the-top and then some, but if you're looking for an escape from the world of our current and ever-present Covid-19 menace, this movie may very well get you the hell out of here. (It's even got an American flag for the "patriots" among us.)

Ben Lewin's THE CATCHER WAS A SPY proves classy, old-fashioned, WWII espionage fun

Based on a real-life baseball player named Moe Berg (of whom TrustMovies had never heard but is very happy to have now made his acquaintance), THE CATCHER WAS A SPY proves a surprising and welcome throwback to the days of World War II and those exciting, old-fashioned, well-plotted espionage thrillers that we rarely see any longer.

As directed by Ben Lewin and written by Robert Rodat (from the book by Nicholas Dawidoff), the movie proves a classy, intelligent, gorgeously-mounted treat.

With a spot-on production design by Oscar-winner Luciana Arrighi in which every scene appears real and right -- from the gorgeous period interiors to the bombed-out ruins in which some exciting and suspenseful combat takes place -- the look of this film seems just about perfect without ever calling undue attention to itself: every production designer's dream, I should think.

For his part, Mr. Lewin (shown at right, who a few years back gave us that wonderful movie The Sessions) also gets it all correct. He is able to direct with a firm, fine hand everything from an exciting action sequence to a philosophical discussion of murder and patriotism; from a hot 'n heavy hetero sex scene to a quiet but deeply felt suggestion of homosexual love; from a baseball game to a blunt-force beating.

While I suppose there is nothing "award-winning" here, still, what a pleasure it is to see first-class craftsmanship in writing, directing, acting, editing, cinematography and production design come together so very well. In the starring role of Moe Berg, we have that fine actor Paul Rudd (shown above and below), at last given a role that allows him to shine in ways we've seldom seen. Rudd makes a particularly believable-looking 1930s-40s character, with a face and body that's near-perfectly "period."

From what we see and learn here, Moe Berg was a very private man: a non-religious Jew who didn't even feel particularly "Jewish," evidently bi-sexual (in a time when this was anything but accepted), and a fellow who felt at home almost nowhere except in a library or on the baseball field. Mr. Rudd brings all of this to exceedingly quiet-but-felt life. He is on screen in (I think) literally every scene, which forces the rest of the excellent ensemble cast to take a decided back seat in the proceedings.

Yet, because that ensemble consists of terrific actors such as Jeff Daniels, Mark Strong, Paul Giamatti, Sienna Miller (above, left), Tom Wilkinson, Sanada Hiroyuki, Giancarlo Giannini and Pierfrancesco Favino (below, right), each of their roles comes strongly, if briefly, to life. (One does wish that Ms Miller might be given roles a little more important and demanding, but then this is definitely the kind of male-centric movie, in which women, if they appear at all, are simply "helpmeets" to the men.)

Yet the story is indeed a crackerjack one: a ball-playing civilian recruited into the OSS and asked to possibly kill one of Germany's finest and most heralded scientists. Lewin and Rodat begin at the climax then circle back to an earlier time, as we learn Moe Berg's history in both baseball and spying. It makes for a very good yarn; how true it is to the facts I can't say, but as we move along, events and characters tumble over each over with proper pacing and believability.

In the end, the question of the need to murder for your country is given a more-than-decent workout. In this age of drone murders (even of American citizens by the American government) and their endless collateral damage, this single important incident provides a very good point at which to look back and take stock.

From IFC Films and running a just-right 98 minutes, The Catcher Was a Spy, opens this Friday, June 22, in New York City (at the IFC Center) and Los Angeles (at Laemmle's Monica Film Center, Playhouse 7 and Town Center 5).  Here in South Florida, the film is playing now at the Movies of Delray and Lake Worth. Simultaneously, the movie will also be available via VOD.