Latin Lover (2015)

Director/Coscreenwriter: Cristina Comencini

2016 European Union Film Festival

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By Marilyn Ferdinand

The movie industry trades in all types for all tastes. Among male matinee idols, you have your blond-haired, blue-eyed men with boyish good looks (Tab Hunter, Brad Pitt), your frail, poetic, doomed types (Leslie Howard, Robert Pattinson), and your approachable sophisticates (Cary Grant, George Clooney). No matter what flavor you prefer, what’s great about matinee idols is that they are meant to delight, to provide us with enjoyment and vicarious romance. Taking the image of the matinee idol too seriously would ruin the pleasurable escape they provide when we need a vacation from our lives.

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This featherweight quality also makes them perfect targets for satire. It is in this spirit that a large raft of women in the film industry—director/coscreenwriter Cristina Comencini, coscreenwriter Giulia Calenda, and a bevy of actresses, including the great Virna Lisi in her last performance—came together to create Latin Lover, a spoof on the type of smoldering lothario that gives the film its title.

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The Latin lover in question is Saverio Crispo (Francesco Scianna), an Italian movie star whose serial infidelities stretched across Europe and the United States, leaving many broken hearts and attractive children in his wake. Saverio has been dead for 10 years, and the unveiling of a commemorative plaque in his home town has his Spanish second wife, Ramona (Marisa Paredes), and his five acknowledged daughters gathering at the home of his Italian first wife, Rita (Lisi), to attend the ceremony and festivities surrounding it.

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Oldest daughter Susanna (Angela Finocchiaro) is the somewhat neurotic head of the Crispo Foundation, which is dedicated to keeping the star’s film legacy alive. She hides her relationship with Walter (Neri Marcorè), Saverio’s film editor and her long-time fiance, from the rest of the family for somewhat obscure reasons and refuses to allow him to come to the house or walk with her. B-list actress and full-blown neurotic Stephanie (Valeria Bruni Tedeschi), Saverio’s illegitimate second daughter with his French wardrobe mistress, arrives with her half-black Moroccan son, Saverio, whom she delusionally insists resembles his namesake around the eyes. Ramona and her daughter, Segunda (Candela Peña), whose name proclaims her to be the actual second daughter of Saverio, shows up with Segunda’s sons (another Saverio among them), and her husband, Alfonso (Jordi Mollà), who immediately starts putting the moves on Solveig (Pihla Viitala), Saverio’s Swedish daughter. Near the end of the film, Saverio’s American daughter, Shelley (singing star Nadeah Miranda), also arrives.

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It’s hard to keep the players straight, at least during the opening scenes of the film, but eventually, the nonstop introduction of characters and polyglot dialogue mostly comes to an end and their personalities start to shine. Of course, jealousy rears its ugly head, as Ramona vents her hostilities toward the “American slut” who gave birth to Shelley and anyone else who stole Saverio’s affections from her, while Rita nods sympathetically but with a more generous attitude toward the women who found Saverio irresistible. Solveig tries to resist Alfonso out of sisterly solidarity, but her thermostat seems permanently set at hot to trot where he is concerned. A mournful-looking Stephanie bears her relatives’ slights with exaggerated winces, self-deprecating asides, and frequent phone calls to her shrink in Paris. Intrigue is stirred when Saverio’s stunt double, Pedro (Lluís Homar), shows up, and Ramona and Rita work hard to keep him away from a writer (Claudio Gioè) who is working on a life of Saverio.

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The actors work off each other with exquisite timing and broad emotional interplay, turning what is largely a sex farce into a breezy comic masterpiece that compares favorably with Alain Resnais’ final masterwork Life of Riley (2014). The old masters, Lisi and Paredes, offer brilliant portrayals of women who adhere to the non-Bechtel-approved roles of the sexes; Paredes especially seems the very image of a nonliberated woman until she reveals that she has found her freedom from the torments of love in a rather unusual way. The sisters seem resigned to multiple marriages and unfaithful husbands, as befits their generation, and argue more over the lack of a fatherly presence in their lives. Shelley even reveals that she thought Saverio would instantly know who she was on their first meeting, only to discover he had no clue and merely wanted to jump her bones.

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I was captivated by Toni Bertorelli, who plays Picci, an old chum of Saverio’s from their home town who shares his memories of his famous friend whenever possible in endlessly boring fashion. But it is Homar who nearly walks off with the picture as the ruggedly handsome oldster who can still spin a gun like a Wild West performer, chase down a nosy photographer and sniff out his hiding place, and cry like a baby at the thought of his “workmate,” Saverio.

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In the final analysis, however, the beating heart of Latin Lover is Saverio himself. Comencini opens the film with a full-frame picture of the actor and then pans out to watch a worker walk the photo blow-up to the theatre where a film tribute to him will be held. A quick review of his career via the reminiscences of Picci show him performing in every kind of film imaginable, from Hollywood musicals and beach bum films to spaghetti westerns and neorealist dramas. The various clips and the very structure of Latin Lover call to mind some of the greats of Italian cinema, from Federico Fellini and Sergio Leone to Pietro Germi and Mario Monicelli. The final montage of Saverio images reveals that the women and men who realized no peace with who he was as a man found their greatest fulfillment in worshipping him as their ultimate matinee idol. Latin Lover is a superb comedy with heart that shows Italian cinema still has a great deal to offer, with or without its Latin lovers.

Latin Lover screens Saturday, March 5 at 6 p.m. and Tuesday, March 8 at 6 p.m. at the Gene Siskel Film Center, 164 N. State St. A reception follows the Tuesday screening in honor of International Women’s Day.

Previous coverage

How to Stop a Wedding: A smart script and committed acting elevate a simple story of two jilted lovers sharing a train compartment who find out they are both planning to stop the same wedding. (Sweden)

Anton Chekhov 1890: The final directorial effort of René Féret surveys six years in the life of Russian writer Anton Chekhov in the naturalist style Chekhov helped introduce to the modern world. (France)

Home Care: A home health nurse finds out she needs care every bit as much as her patients in this rueful look at small-town life and middle-age regret. (Czech Republic)

Forbidden Films: Free speech is debated in this somewhat crude documentary look at Nazi-era films that have been banned from public viewing. (Germany)

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