(2011) Comedy (Zeitgeist) Gianni di Gregorio, Valeria De Franciscis Bendoni, Alfonso Santagata, Elisabetta Piccolomini, Valeria Cavalli, Aylin Prandi, Kristina Cepraga, Michelangelo Ciminale, Teresa di Gregorio, Lilia Silvi, Gabriella Sborgi, Laura Squizzato, Silvia Squizzato. Directed by Gianni di Gregorio
When a certain age is reached, people tend to become invisible to the opposite sex – transparent, as one character ruefully comments in this Italian comedy. The tendency is for us to fight against this marginalization and assert our own sexual potency, particularly in the male of the species.
Gianni di Gregorio, who co-wrote and directed this as well as starred in it, has reached that age. He is a pleasant, willing sort who was forced, unwilling, into retirement years ago (although for what reason it is never said). His laid-back, low-key and giving nature are constantly taken advantage of by the women in his life, particularly his nonagenarian mother (Bendoni) who fritters away her life savings while her son scrapes by. She constantly calls her son to come visit her to basically wait on her hand and foot, while her caregiver Kristina (Cepraga) is given designer dresses and jewelry to wear.
Gianni’s wife (Piccolomini) is cordial towards him, although she does belittle him for having nothing to do. Her earnings and Gianni’s pension are barely enough to make ends meet. Still, they have a pretty comfortable lifestyle, although the two of them sleep in separate bedrooms and essentially lead separate lives. With them lives their daughter (Teresa de Gregorio), who is stressed with university exams, and her slacker boyfriend Michi (Ciminale) who seems to spend more time with Gianni than with his girlfriend.
Rome has always been filled with attractive women and Gianni is surrounded by them – besides Kristina there’s Gianni’s ex-girlfriend Valeria (Cavalli) who is newly available and seems to adore him, his neighbor Aylin (Prandi) who professes to be madly in love with him but that seems to be mainly because he is willing to walk her St. Bernard for her and run errands for her while she sleeps off a hangover from yet another night of partying. None of them seem to have much more than a playful flirtation in mind for him and he wonders if he missed out on the romance in life. This spirals him into a mild depression.
Gianni’s best friend and lawyer (Santagata) notices Gianni’s melancholy and advises him to take on a mistress. Gianni warms to the idea – even some of the most decrepit men in his neighborhood have one – and seems to fear the idea of becoming the lonely old man who walks his dog in a Trastevere park every day. But how to go about it?
This is not really a sequel to di Gregorio’s last film, Mid-August Lunch (which I saw at the 2010 Florida Film Festival and it wound up on my list of Ten Best Films that year) so much as it is a continuation. There are several of the same characters in that movie including Santagata and Gianni’s mom. It carries with it the same inner charm and sweetness that the first movie carried.
As in that movie, Gianni is something of a pushover, blandly murmuring “certainly, certainly” when asked to do something by the various women in the movie. Yet when he decides to do something it become woefully obvious he doesn’t have game by modern standards. He is courtly and charming but lacks passion and confidence, something most women look for. He is a hand kisser in an age of ass grabbers. He is so inept at wooing the women around him that one wonders how he got married and managed to sire a daughter.
Gianni has that woeful hangdog look, and his melancholy is palpable throughout the film. He is aware of the bags under his eyes and although not an un-handsome man, he is no Giancarlo Giannini. In many ways, he is the man most women like to affectionately complain about – somewhat befuddled, a little inept and lost without the women in his life.
The sun-dappled streets of Trastevere are charming and alluring in their own way. Even though Gianni isn’t in the best of financial shape, he still leads an enviable lifestyle; eating well, drinking often and not having to go to work every day. Still, there’s something missing for him, something that leads him to stray onto trails he doesn’t know and isn’t sure where they’re going to lead him.
It seems odd to root for someone to cheat on their wives but it is important to remember that mistresses occupy a different place in Italian culture than in our own. Not that it’s accepted so much as politely ignored. Here, it’s a major no-no so American audiences might have trouble getting behind Gianni’s quest.
Still, this is delightful, laid-back, charming and laugh-out-loud funny. Di Gregorio makes the difficult art of comedy seem effortless, and that’s the mark of a real master. In a landscape littered by raunchy comedies by Judd Apatow and his wanna-bes, this is a refreshing change. Not that I don’t enjoy Apatow’s films or raunchy comedies in general but it’s nice to have variety and isn’t that the salt of life?
REASONS TO GO: Gentle and charming. Has a sweet sexiness that American films rarely capture.
REASONS TO STAY: Gianni lacks inertia. Hard to root for a guy trying to cheat on his wife.
FAMILY VALUES: There is some sexual innuendo and a few bad words scattered here and there.
TRIVIAL PURSUIT: The actress playing Gianni’s daughter is in fact his real life daughter.
CRITICAL MASS: As of 4/24/12: Rotten Tomatoes: 82% positive reviews. Metacritic: 65/100. The reviews are solid.
COMPARISON SHOPPING: Mid-August Lunch
ROME LOVERS: This movie is set in Rome’s Trastevere neighborhood and is the Rome not of tourists but the city where Romans actually live. One gets a real sense of the lifestyle of those who live there.
FINAL RATING: 8/10
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