Review: ‘Ciao America’

Think of it as "My Big Fat Italian Football Team." Featherweight sports pic-cum-romantic comedy "Ciao America" reps the second foray into self-distribution (via a partnership with exhib giant National Amusements) for Boston-based filmmaker brothers Frank and Joseph Ciota, whose "The North End" premiered in 1997.

Think of it as “My Big Fat Italian Football Team.” Featherweight sports pic-cum-romantic comedy “Ciao America” reps the second foray into self-distribution (via a partnership with exhib giant National Amusements) for Boston-based filmmaker brothers Frank and Joseph Ciota, whose “The North End” premiered in 1997. Never less than pleasant and genteel, but rarely more, this handsomely produced, dramatically slack fish-out-of-water story looks destined for the small screen (unfortunately impinging on its attractive widescreen compositions), though its brief theatrical run may see modest niche biz in East Coast cities with large Italian-American populations.

Though produced with American funding, pic resembles English-lingo international co-productions, with nary a scene set in the U.S., an entirely Italian crew and the presence of well-known Italian thesps Maurizio Nichetti and Giancarlo Giannini in key supporting roles. In fact, Nichetti (sometimes called the Italian Woody Allen, and perhaps best known for his 1989 pic “The Icicle Thief”) nearly walks off with “Ciao America,” delivering a sidesplittingly funny perf as the flummoxed manager of an American-style football team in a small Italian town. (Pic was lensed predominately in Ferrara, with additional work in Florence and Naples.) Bostonian Lorenzo Primavera (Eddie Malavarca), traveling to Italy at the behest of his late grandfather (Antonio Navarro), is recruited by Giulio Fellini (Nichetti) to coach his fledgling team.

Joseph Ciota’s screenplay is loosely based on the writer’s own experiences coaching American-style football abroad. Pic skimps on many of the expected sports-movie cliches with the football team as the background for the film rather than its focus. Gridiron action shown is among the least urgent ever put on film (though that’s part of the point).

Unfortunately, what gets substituted isn’t always that compelling — namely, the forced romance between Lorenzo and Paola (beautiful Violante Placido, daughter of Simonetta Stefanelli), the daughter of a local university professor. Lorenzo’s blossoming affection for Paola keeps him in Italy beyond his expected departure date, but the scenes between Malavarca and Placido have no real spark.

Pic fares somewhat better with a subplot concerning Lorenzo’s investigation of his family history, during which he discovers the real reasons for his grandfather’s emigration to America. In a lovely turn, the inimitable Giannini appears as Lorenzo’s long-lost granduncle, and there are some truly magnificent landscape shots of the Italian countryside as Lorenzo travels to his family’s home town of Avelino. In pic’s best moments, like Lorenzo’s climactic confrontation with his Americanized father (a spirited Paul Sorvino), there’s a sense of all that the emigrant generation desired for its offspring.

However, Malavarca is not strong enough as the lead and film never quite coheres in spite of director Ciota’s obvious visual talents and the generally fine work his elicits from his Italian cast. Pic’s richness in its observances of local customs and culture is enhanced by Giulio Pietromarchi’s accomplished lensing and Andrea (son of Ennio) Morricone’s fine score.

Ciao America


A Roger Marino presentation in association with Mavex Film Prods. Produced by Roger Marino. Executive producers, Conchita Airoldi, Dino Di Dionisio. Directed by Frank Ciota. Screenplay, Joseph A. Ciota.


Camera (Technicolor Rome; widescreen), Giulio Pietromarchi; editor, Tia Schellstede; music, Andrea Morricone; production designer, Enrico Serafini; sound (Dolby Digital Surround EX), Filippo Porcari; assistant director, Andrea Marrari; casting, Sheila Jaffe, Georgianne Walken (U.S.), Shaila Rubin (Italy). Reviewed at the Bridge, L.A., Sept. 17, 2002. Running time: 101 MIN.


Young Lorenzo - Anthony Di Nanno Grandfather Lorenzo - Antonio Navarro Lorenzo Primavera - Eddie Malavarca Professor Angelini - Vittorio Amandola Giulio Fellini - Maurizio Nichetti Massimo Ferrarese - Michele Bertelli Frank Mantovani - Anthony DeSando Tenente Luca Ruzzi - Umberto Franchini Paola Angelini - Violante Placido Alex Guio - Pierpaolo Lovino Bongo - Vincenzo Amato Giova - Marco Basile Morandi - Paolo Napizia Skip Cromwell - Nathaniel Marston Isabella - Claudia Gamberini Moretti Peter Marcucci - Tiziano Tassan Zio Felice - Giancarlo Giannini Antonio Primavera - Paul Sorvino Alessia - Elisa Soffritti
Want to read more articles like this one? SUBSCRIBE TO VARIETY TODAY.
Post A Comment 0

Leave a Reply

No Comments

Comments are moderated. They may be edited for clarity and reprinting in whole or in part in Variety publications.

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

More Film News from Variety