Cast: Luke Kirby, Ginette Reno, Paul Sorvino, Claudia Ferri, Peter Miller, Mary Walsh, Tara Nicodemo
Director: Emile Gaudreault
Producers: Denise Robert, Daniel Louis
Screenplay: Steve Galluccio, based on his play
Cinematography: Serge Ladouceur
Music: FM Le Sieur
U.S. Distributor: The Samuel Goldwyn Company
Mambo Italiano tries to mix the newfound popularity of the ethnic comedy (think My Big Fat Greek Wedding) with the familiar, occasionally semi-serious rhythms of the gay romantic comedy. The result isn't exactly a resounding success. Mambo Italiano has its share of very funny moments, but they are trapped in a production whose drama is unsubtle, obvious, and at times downright insipid. The film's laudable message about the difficulties of being gay in an insular ethnic community is undermined by clunky writing, uneven characterization, and a forced happy ending.
Yet there are laughs to be had. Director Emile Gaudreault may not have a good eye for what constitutes compelling drama, but he has one for comedy. An astoundingly high percentage of the jokes work, in large part because of perfect timing and editing. It's difficult to actively dislike a movie that makes one chuckle as often as Mambo Italiano. Unfortunately, it falls short when it comes to the main story, which is (to be kind) overfamiliar. And the movie doesn't take many chances. The material cries out for an edgier, fresher approach, but the filmmakers never stray far from mainstream expectations.
The movie is based on an autobiographical play by Galluccio, which was well received when it was performed in Montreal. Nevertheless, either by accident or by intent, the movie descends too deeply into the feel-good, stereotype approach embraced by My Big Fat Greek Wedding. We are presented with similar characters, situations, and dialogue. The things that were marginally endearing in the earlier movie now seem overused. (Not that My Big Fat Greek Wedding was a model of originality.) There are differences, to be sure. In the 2002 box office hit, the crisis revolved around the relationship of a Greek woman with a non-Greek man. Here, it's homosexuality. But, in both cases, the situation is one of an established, intolerant culture being impinged upon by an unwanted, outside influence. As a medium to explore this, light comedy works better for the more traditional story than it does for the less conventional one. The reliance upon formulas and the avoidance of forceful drama short circuit some of what Mambo Italiano is trying to do.
Angelo Barberini (Luke Kirby) has discovered that he's gay. But, because there is no fate worse than being gay and Italian, he hasn't told anyone about it except an anonymous phone operator on a gay hotline. Then, while on a camping trip with an old high school buddy named Nino (Peter Miller), Angelo's sexuality emerges. He and Nino become lovers, and, although Angelo wants the world to know, Nino would prefer to keep things quiet. He has a reputation as a respected police officer to protect. Eventually, however, Angelo faces the onerous task of informing his parents of the truth, and, once his homosexuality becomes general knowledge, it places his relationship with Nino in serious jeopardy. Angelo doesn't much care what others think of him, but Nino is very concerned with keeping up appearances.
Paul Sorvino and Ginette Reno get the most laughs as Angelo's father and mother. These two characters may seem eerily familiar to those viewers who grew up in tight-knit ethnic communities, although (of course) they are exaggerated for comic effect. (In this case, it's an Italian Canadian family, but it could easily be Greek, Jewish, Indian, etc. - where the pressure to conform is equaled only by the pressure to assimilate.) Lead actor Luke Kirby has the necessary passion and expressiveness to carry the lead. His mannerisms, facial expressions, and vocal inflections are just right. The weak link is Peter Miller, who often comes across as stiff and artificial.
Visually, this is a sumptuous film. Gaudreault put a lot of thought into how he wanted the movie to look. We are presented with bright, garish colors, and, during a lengthy flashback sequence that sets up the story, there are several surreal sequences, including a perfect-looking house with fake butterflies flapping around outside. Inside, however, it's a darker, nightmarish place. The director also has fun playing with our expectations from time-to-time. His "steal" from The Graduate has an unexpected conclusion.
The good news is that Mambo Italiano, despite its weaknesses, offers 90 minutes of entertainment. The bad news is that there was the potential for it to be much more. But, by falling into the My Big Fat Greek Wedding trap, it ends up spinning its wheels as it travels over familiar ground. So we end up with My Big Gay Italian Wedding instead. This is a likeable motion picture, but "likeability" has never been a universal synonym for "good."
© 2003 James Berardinelli