
Le placard
2015

1980
Director
Francesco Massaro
Runtime
95 minutes
Average Rating
No ratings yetSynopsis
Leon de Paris is a modest dog-barber in Paris. In search of more satisfaction. Thanks to the economic helps of Fanny (his terrible mother in law), he succeeds to set up in Roma a very stylish "Coiffeur pour homme". But due to this, his life with Fanny isn't funny, and more, Leon has to dissimulate homosexuality for job reasons. He decides to stop this nightmare engaging "Er Cuculo" (the cuckoo) a B-gangster to simulate a robbery. In fact the plan is to take all Fanny's money, share it among them and escape in Montecarlo. Will the strange couple succeed?
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film centers on the protagonist's need to hide his homosexuality to maintain his professional standing. This focus on the tension between private identity and public performance offers a nuanced look at queer survival.
Gender Representation
Gender dynamics are largely defined by traditional comedic tropes. Fanny serves primarily as a source of domestic friction and economic pressure rather than a character with an independent narrative arc.
Racial & Ethnic Diversity
The story remains within a culturally homogeneous European setting of Paris and Rome. There is no evidence of significant racial diversity or non-majority casting within the narrative.
Religious & Cultural Diversity
The plot subverts traditional family structures by prioritizing individual liberation over domestic sanctity. The protagonist's scheme to escape his marriage serves as a critique of established social institutions.
Disability Representation
There are no visible or invisible disabilities depicted that impact the character arcs or the direction of the story.
Strengths
Areas for Improvement
AI Analysis
Il lupo e l'agnello stands out for its early engagement with the performative nature of sexuality. By making the protagonist's struggle to hide his identity a central plot driver, the film moves beyond simple caricature to explore the social costs of heteronormative expectations. However, the film remains tethered to the era's limitations regarding gender and race. Female characters are relegated to roles of domestic antagonism, and the setting lacks ethnic variety, focusing instead on class and regional movement. Ultimately, the film's strength lies in its subversion of the traditional family unit. It frames the pursuit of personal satisfaction and the escape from domestic oppression as a form of empowerment.

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