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" Later on, after the remaining kids spend some time with Dad (only to embarrass him in front of guests by playing a clandestine recording of his love-making the night before!), the sister also perishes at the hands of her intellectual sibling via a deliberate leakage of gas – which he’s personally able to endure by wearing a self-constructed gas mask!! The mother, then, is forced to take stock of the situation: left alone with the boy – who actually blames her for the two previous deaths (not an entirely unfounded accusation, given her chronic aloofness) – she blows him up while he’s fiddling yet again with the rocket! After this, it’s back to the revolution – except that her former companions have started to disperse: however, by now, the heroine’s learned how to assemble a bomb by herself…with the obvious target being her ex-husband’s pharmaceutical factory! I’m sure that even from the above synopsis, one is able to grasp just how bizarre this film is; for the record, the only other Samperi effort I’d watched was THANK YOU, AUNT (1968) – which was itself fairly disturbing in view of the incestuous sado-masochistic central relationship and a finale promoting euthanasia! Apart from Morricone’s delightful contribution (frequently providing ironic counterpoint to the on-screen events), the anchor here is clearly Gravina – despite the inherent difficulty in playing a character who’s basically a cipher; incidentally, her rapport with the kids is genuine since the elder couple are the actress’ real-life off-springs! Besides, the film contains a surreal quality to it – which is positively winning…though it’s all eventually worn down by the excessive political rallying"