Totally unawares, Saverio, a teacher and Mario, a janitor of the same school in which they both work, travel back in time and find themselves in central Italy at the end of the 15th century. They carry with them an unresolved squabble concerning Saverio’s sister, creating a lot of tension between the two, which will increase in the plot. From this moment on they will have to come to grips with the grotesque situation they find themselves in, trying to "hitch a lift" back to the future in a most outlandish way, using and misusing their foresight of the events taking place round that time, and generally making fools of themselves in the eyes of "normal" renaissance folks. Their meeting with Leonardo da Vinci is hysterical, when they become more and more convinced that the genius is in reality a moron. Another character they meet is Savonarola the heretic, who enjoins them to repent, before he is taken to the stake, eliciting some breezy comment from them. If it weren’t for a weird kind of homesickness, they would quite enjoy living in this period, full of daring fashions and tantalising damsels.                                    这部剧的优错误谬误都很明显，长处是故事线很完整，王全安这个人刻画的实在太好了，他和男主角是剧里最完整的两个人物。错误谬误是地下党这条线，不够严密跟细节，前面还挺好的，打死第一个叛徒很出色，后面就崩了，好比女主的电台居然随便放在桌子上，联系方式也不够严密。还有，男主这么高级此外人应该有一个核心高级别任务，其他时候保持静默。而不是一直在纠缠在救人这种工作上，这里的情节我认为除了拖长剧情没有什么意义。女主这条线导演真的有责任，就算是个联络员也不能表演来像个可有可无的工具人，导演没有设置好女主的行为动作，她在这部戏里真的很脱节。
                               　　The couple shows great chemistry and is funny in every respect. The psychology of their characters is complex and credible - for once comical roles with a depth. Basically, Saverio is an embittered petit-bourgeois forever attracted and rejected by women, envious of Mario, an easy-going proletarian every woman falls in love with. Saverio is scheming, mean and vindictive as much as Mario is naive, generous and forgiving. What a match of talents: Roberto Benigni and Massimo Troisi at the peak of combined creativity. Too bad they will never come back together for another joint venture. Or maybe it is better this way: masterpieces of this level cannot be improved on, at best they can be imitated. For this reason Non ci resta che piangere will shine like a gem in the crown of the best Italian movies of all times. Sadly not many people seem to have seen it, not even in Italy, where the viewers do not need subtitles to enjoy the hilarious juggling of the two actors with the language, but their body language can be universally appreciated.                                    
                               　　If you miss it you will have to repent!