6.4/10
608
12 user 2 critic

Maccheroni (1985)

A businessman from the United States returns to Italy for the first time in four decades only to discover that an old girlfriend of his, along with her brother, have involved him in a massive hoax.

Director:

Ettore Scola

Writers:

Ruggero Maccari (screenplay), Furio Scarpelli (screenplay) | 1 more credit »
Reviews
1 win & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
Jack Lemmon ... Robert Traven
Marcello Mastroianni ... Antonio Jasiello
Daria Nicolodi ... Laura Di Falco
Isa Danieli Isa Danieli ... Carmelina Jasiello
Maria Luisa Santella ... Door Keeper
Patrizia Sacchi Patrizia Sacchi ... Virginia
Bruno Esposito Bruno Esposito ... Giulio Jasiello
Orsetta Gregoretti Orsetta Gregoretti ... Young actress in theater
Marc Berman Marc Berman ... French record producer
Jean-François Perrier ... French record producer
Giovanna Sanfilippo Giovanna Sanfilippo ... Maria
Fabio Tenore Fabio Tenore ... Pasqualino (the little monk)
Marta Bifano Marta Bifano ... Luisella
Aldo De Martino Aldo De Martino ... Cottone (theater manager)
Tilde De Spirito Tilde De Spirito ... The villain's mistress (as Clotilde De Spirito)
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Storyline

Robert Traven, a dyspeptic, edgy American businessman, arrives in Naples and is received by a friendly but officious local company representative. Exhausted by the pressures and inconveniences of a long flight, he is looking forward to rest and relaxation in his hotel room when he is visited by buoyant and upbeat Antonio Jassiello, a clerk in a bank record room, who is surprised when his old friend from the War does not recognize him. The annoyed and exhausted Traven feels he's being scammed, and the two part on bad terms. Jassiello does leave a photo of Traven and his sister taken 40 years earlier, and the time and the setting seen to stir the American's memory, so he seeks out Antonio to apologize. Jassiello brings him back home to renew acquaintances with his family including his now middle-aged, married sister, Her hospitable husband is friendly and not the least bit jealous, and Traven soon discovers why he has not faded from their memories as they have from his. Antonio has been... Written by duke1029@aol.com

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

Certificate:

PG | See all certifications »
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Details

Country:

Italy

Language:

Italian | English

Release Date:

24 October 1985 (Italy) See more »

Also Known As:

Macaroni See more »

Filming Locations:

Naples, Campania, Italy

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Box Office

Opening Weekend USA:

$119,625, 3 November 1985, Limited Release

Gross USA:

$427,298
See more on IMDbPro »

Company Credits

Production Co:

Filmauro, Massfilm See more »
Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

When Antonio (Mastroianni) and Robert Traven (Lemmon) enter the home of Maria and her husband, the camera pans to a shot of three portrait photographs on the dining room sideboard: 1. a photo of Jack Lemmon in army uniform; 2. a photo of Pope John XXIII; 3. and ....... a photo of Enrico Berlinguer, head of the Italian Communist Party from 1972 to 1984. Maria's husband points to the photos and says: "These are our patron saints." See more »

Quotes

Antonio: Ah, it's beautiful to waste time.
See more »

Connections

Referenced in Yes Man (2008) See more »

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User Reviews

 
An Italian's view of an American's view of Italians
9 November 2012 | by JohntechwriterSee all my reviews

The conceit of this odd little film is that to experience family love the late-middle-aged American man must return whence he found it -- to Italy of course!

The score is lovely but the sound quality execrable. The comedy hits Americans sideways but the location shots of Naples are breathtaking. (What can Florence be like?)

The storyline is all over the place but then it doesn't matter because we are spellbound by every scene where Lemmon and Mastroianni are together. Both are at the top of their form, not out of any sense of competing, but rather out of respect -- to their characters, to their director, and to each other.

Lemmon is the most restrained I've ever seen him. His tendency to be seen working is quelled, perhaps, by Mastroianni's generous willingness to cede the center of the stage.

So what we have is a little movie with a somewhat pretentious theme that nevertheless, because of its idiosyncrasies and contradictions, and especially because of the performances of its leads, is well worth viewing.


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