The Italians

Bluesky

One of the oldest jokes about Catholic priests is that they love their jobs because they get to hear all the juicy gossip in the neighbourhood, yet one cannot but imagine that hearing about people making the same mistakes over and over again gets frustrating after a while. When Nico (Matthew Daddario) explains that his parents will be following him into the confessional box because they too have a lot to own up to, Father Joe (Luca Riemma) knows that this is going to be a long day.

This is a film full of familiar characters making familiar mistakes; Lisa Phillips Visca’s script acknowledges as much. Her excuse, not unreasonably, is that this is the way real life plays out; and whilst one might feel uncomfortable if a film so full of stereotypes were made by outsiders, this is very much a case of Italian Americans laughing at themselves whilst inviting the rest of the world to the party.

It centres on middle aged housewife Angelina (played by the director, Michelle Danner, who acknowledges that the women in her own family provided inspiration). An enthusiastic cook who is equally devoted to her kitchen garden, Angelina is used to having everything her way, with an adoring if frequently frustrated husband, Vincenzo (Danner’s frequent screen partner Rob Estes), who knows when she’s beaten. As the action-in-flashback begins, however, she’s preparing for a situation where she doesn’t have quite as much control. Nico is bringing over his girlfriend, Lily (Abigail Breslin), a young woman who, as it soon emerges, is a divorcee, isn’t keen to have children in the near future, doesn’t eat meat, and isn’t even Italian. Naturally, this does not go down well.

The story plays out over several days, during which a series of farcical events contrives to make matters ever more awkward, with every character getting into trouble at some point as Angelina’s best friend, who lives next door, and the friend’s husband, a professional party clown, are also drawn into the mix. Even when more challenging themes emerge, Danner doesn’t dial back on the comedy. She’s plainly having a whale of a time with her big, brash character, and the film’s ability to charm you will depend principally on whether or not you feel the same way.

There’s great supporting work. Breslin, as so often, is the standout – she worked with Danner previously, in Miranda’s Victim, and is every bit as convincing here despite her very different character and tone. The one element of the film that really jars is the contention that Lily might be willing to give up her own concerns and enmesh herself fully in this chaotic ensemble – one can’t help but feel that it promises tragedy further down the road. That said, The Italians is a breezy way to pass an hour and a half, and if it sounds like your thing at all, you will likely have fun.

Source