Liquirizia 1979

In 1959, Padua buzzes with the energy of two friends on the cusp of adulthood. Fulvio [Massimo Anzellotti] and Carletto [Stefano Ruzzante] are in their final year of school, each pulled by different worlds. Fulvio comes from a working‑class background and attends an accounting institute, chasing the hot new trends—sports, cars, rock music, and women. Carletto, by contrast, hails from a wealthy bourgeois family and studies at a classical high school, dreaming of relocating to Rome to become a theatrical director. Their paths cross as they hatch a plan to stage a grand end‑of‑year celebration that would unite their peers from both schools, raise some money, and give everyone a chance to have fun one last time before summer.

The plan is ambitious: Carletto will shape the show, while Fulvio pushes to bring in a marquee performer from Milan. Fulvio travels to meet a famous singer, aiming to secure participation from Adriano Celentano, but fate trips him up when he encounters a boastful rock singer named Flyn. The latter, portrayed by the lively and confident Teo Teocoli, agrees to perform, adding a spark of rock charisma to the lineup. The mix of acts promises variety, with each group preparing something different to captivate the audience.

A crucial ally arrives in bartered strength and goodwill: Mrs. Raffaella, played by Barbara Bouchet, is the mother of a younger student who lends them a family-owned theater free of charge. The theater is cared for by a Neapolitan custodian—an affable, affectionate watchman who worships Eduardo De Filippo and keeps a watchful eye on every rehearsal. This makes the venue feel both intimate and charged with possibility, the kind of place where a school show could become something bigger than anyone expected.

The cast within the theater reflects the tension and promise of youth. On the high school side, Gian Galeazzo Lo Cascio—a naïve, affluent heir—is engaged to Marina, a romance that threads through the back-and-forth of preparations. Giulia has a soft spot for Carletto, adding a hint of teenage longing to the backstage conversations. There’s also the playful energy of Baffi, and Bartolozzi, the redheaded daughter of a wealthy shoemaker, who is utterly infatuated with Fulvio. The high school performances range from ballet and opera to Shakespeare, a testament to the kids’ eagerness to shine in every possible guise.

The accounting students bring their own bold personalities to the mix. Two of them, Maiale and Coen, clash with the others, injecting a punch of rivalry and humor into the behind‑the‑scenes dynamics. The diverse lineup is meant to blend culture and rebellion, to show that students from different walks of life can come together around shared ambition and camaraderie.

As the big night arrives, the mood shifts from hopeful to chaotic. The audience boos several acts, the rock‑oriented performance by Flyn falls flat, and a group of former students storms the stage led by the infamous Tonazzi, known as “Be‑Bop‑A‑Lula,” turning the event into a riot. The celebration collapses into a violent brawl, underscoring the vulnerabilities and pressures the young organizers face when expectations collide with reality. Carletto sees the collapse as a personal failure and, in a poignant moment, asks Raffaella to accompany him to Rome—only to be gently declined, a reminder of the choices and limits that come with growing up.

In the aftermath of summer, a quiet scene settles the story. Carletto visits Fulvio at Bartolozzi’s shop, where Fulvio has found work, and hints that he has given in to the advances of the girl he’s been interested in. The moment is both practical and bittersweet: the elder Bartolozzi, portrayed with a knowing smile and a licorice stick, watches the exchange with a mix of humor and resigned wisdom. The film closes on a note that blends that sense of missed romance with the promise of new starts, reminding viewers that life moves on even after dreams collide with reality.

Throughout, the film paints a vivid tableau of youth and ambition in a provincial setting, balancing humor with sentiment, and showing how the impulse to create something together can illuminate both the strengths and the tensions of a community on the brink of adult life. The ensemble cast—featuring [Barbara Bouchet], [Massimo Anzellotti], [Stefano Ruzzante], [Jenny Tamburi], [Christian De Sica], [Simona Mariani], [Gigi Ballista], [Benedetta Fazzini], [Teo Teocoli], and [Ricky Gianco]—brings warmth, color, and a touch of chaos to this coming‑of‑age comedy that remains firmly anchored in its time and setting.