Mes chers amis 2

MY FRIENDS is originally a project for Italian writer/director Pietro Germi, whose untimely death in 1974 at the age of 60, leaves the film to be taken over by another maestro of the Commedia all'Italiana, Mario Monicelli. The film was a whopping box-office success, which subsequently would spawn two sequels, Monicelli would be back in the saddle with ALL MY FRIENDS PART 2 (1982) and ALL MY FRIENDS PART 3 (1985) would be outsourced to Nanni Loy.

A double-bill of these two Monicelli's vehicles, set in Florence, MY FRIENDS has a quartet core of middle-aged men: Count Lello Mascetti (Tognhzzi), a down-and-out ex-nobleman who has squandered all his fortunes, can only slum it in a tiny basement with his suicide-driven wife Alice (Vukotic) and their daughter, which doesn't dissuade him from being smitten with an underage student Titti (Dionisio), who has a predilection for girls over men; the second one is Giorgio Perozzi (Noiret), a journalist separated from his wife Laura (Goodwin) and is irreconcilably at adds with his prim adult son; then there is Rambaldo Melandri (Moschin), a bachelor architect, determined to find his perfect half and lastly is Guido Necchi (Del Prete), married with Carmen (Tamantini) and they own a bar which serves as their haunt.

Life is anything but optimistic, Pietro Germi and co.'s script conscientiously draws the milieu from reality, in both Mascetti and Perozzi's cases, one might easily finds company in distress and self- abandonment, but, not these four, feeding on their staunch friendship, the fold never relinquish their idiosyncratic practical jokes and escapades, mostly ingenious and borderline harmless, counting their classic passengers-slapping when a train departs and Mascetti's trademark "supercazzola" gibberish. And following Melandri's tireless pursuit of a married woman, Donatella (Karlatos), an embodiment of Madonna with psychological hiccups, a fifth member, Professor Sassaroli (Celi) is introduced, a renowned surgeon and the husband of Donatella, who is perversely liberal about the affair and is more than happy to not stand in their way if they are really made for each other, and of course, they are not, but Sassaroli is here to stay.

One of their most detailed skits involves a penny-pinching pensioner Righi (Blier), who is hustled into believing that the quartet belongs to a mafia mob, with Sassaroli as their boss, dangled by the profitable income, Righi buckles down to join in their "dangerous" line-of-work, and their adventure culminates in a self-organized gangster melee, which leaves Righi in chagrin, utterly side-splitting thanks to Blier's bang-up po-faced bearing. The coda of MY FRIENDS deflects to a more sombre streak - a heart attack does Peruzzi in, all happens in a sudden but no grim sorrow is allowed to percolate, his friends keep their comic esprit de corps alive, even death cannot take it away.

ALL MY FRIENDS PART 2 comes 7 years later, the story continues after Peruzzi's abrupt departure, the original cast returns (significantly older) except Del Prete, who is replaced by a more prosaic- looking Renzo Montagnani as Necchi, only the latter is not endowed with Del Prete's dashing and devil-may-care panache.

The part 2 doesn't structurally pigeonhole itself as a strict sequel, owing to the huge pull of Noiret's Perozzi, there are abundant flashbacks charting Perozzi and Mascetti's past stories, which take place earlier than those in the first one, while without ghettoizing Sassaroli out of the picture (the original four becomes a quintet), it conspicuously creates some anachronism for viewers with fresh memory of the first installment. Gallantly interpolating the flood of Arno in 1966, the story manages to expound on Perozzi's marriage disintegration and take a taunting spin on Melandri's another devoted courtship to a voluptuous but God-fearing young girl Noemi (Giordano).

Contriving an act of pulling Pisa tower back in perpendicular, gate-crushing a singing contest with a risqué song a cappella in the presence of cardinals, a chirpy caper involving a Spanish contortionist (Da Silva), their shticks never disappoint, meanwhile Mascetti has his own familial problem when his slow-witted daughter is impregnated by an unknown rapist and decides to become an unwed mother. Finally, a guest performance from Paolo Stoppa as Savino, a Shylock to whom Mascetti is indebted, he would fall prey into the quartet's pranks (includes a scatological one which sublimely tips the scale), and undergo several "invisible" operations to square off Mascetti's debts. Similarly, another heart attack befalls on one of the main characters near the finish, but this time, to a lesser extent, Tognazzi, Moschin, Noiret and Celi are all sterling comedians, but it is Tognazzi who stands out in his more sympathetic nobleman-in-distress mould.

Inscribing their marks as quintessential pieces of Commedia all'Italiana, both films are salacious, amoral and pathologically funny, although the second one only logically contends to take a leaf from its predecessor's book. But essentially they are not connived as far-fetched escapist fares with a shamelessly patronizing smugness, their gypsyish antics are genuinely devised to imbue a positive vibe out of their quotidian misfortunes, despite that they can never hit the right note of the gender politics, yet, what do you expect from a buddy movie?

Ah well now I'm having fun! Reviewing AMICI MIEI is like diving into a tub of champagne after just getting drunk, there are so many things that come back to your memory and make you smile that it would be enough to list them. But I won't do that, instead I will say something more significant for us Italians, this film (and its trilogy) is and will always be the best comedy film produced in Italy. Point! He expressed in the most true and realistic way a cross-section of the best way of experiencing friendship in the sixties/seventies, a true, sincere, inter-class friendship, I would dare say almost a brotherhood. There are truly irresistible, contagious points of irony, we would all have wanted or tried to make fun like Count Mascetti played by a splendid Ugo Tognazzi, or to pose like the prof. Sassaroli (Adolfo Celi), or why not to fall in love like the architect Melandri (Gastone Moschin), manage a bar like Perozzi (Duillio Del Prete and Renzo Montagnani) and go on "escapades" like Perozzi (Philippe Noiret). How beautiful, what a pleasure, how many memories... a cult film, an authentic inspiration for entire generations! Masterpiece by Mario Monicelli.

I think that this may be the best comedy sequel ever. The first movie showed how 5 guys at their 40ies can still have fun and enjoy doing jokes at everybody. This movie continues from the point the first one has ended (Giorgio Perozzi's death) and shows us the rest of the guys at his grave remembering some great jokes they have done in the past. The comedy moments that this movie offers are (most of the times) better than the first film and the actors seem to have the same passion and joy as several years ago. The most funny of all is Ugo Tognazzi as Conte Lello Mascetti, a truly larger than life character. Maybe the best film about male friendship and along with "I soliti ignoti" the best Italian comedy by far!

The best comedy ever made on earth . There's no glamour of production , only the real and simple life of 5 men who stops whatever they're doing when called to do some mess.

It shows that friendship can be important(or more) as family but not the sad way...

One of the crucial moments happens when they meet together in a plot to put the tourists to hold the Pisa Tower with an explanation that if they don't it will fall...

Hilarious!!!

There's another situation when they enter a musical contest in a convent where the judges are priests but the song they sang is full of dirty words.

It is a very difficult movie to find(rare) but you should see it!!!

In front of Pisa's leaning tower, tourists from various countries queue to visit the world-famous building. Suddenly, four men dressed in orange uniforms jump from a vehicle of "Towers maintenance". After gauging the inclination of the tower, they organize visitors, shouting alarm warnings and orders by megaphone: on one side, those who support the building with their bare hands; on the other, those who hold it by means of a long rope. Police sirens are hear approximating the location. The four flee in the truck, while tourists remain in their places with goofy air. On the run, the four cheaters are stopped by a police officer who demands the driver his license. Presenting it and after a moment of awe, they discover that the document belongs to the driver's wife's lover. In fact, the husband himself had inducted her to infidelity, by pointing, by pure joke, her "unknown admirer". Leap in time. It is the moment of confrontation of the husband, owner of a restaurant, with the "rival", now a customer of the establishment. The wife, displaying a black eye as punishment for her treason, warns her man of the alleged lover presence. The expectation of a scene of blood fades in a more prosaic, ridiculing and "tasty" vengeance,: the client is forced to take down, to the last drop, a bowl of soup enriched with the urine of the "ristorante" owner. These sequences reveal the way Mario Monicelli filmed comedy. The comic situations, in a bittersweet tone, meet and interpenetrate. Some of the episodes have markedly satirical character; in general, evil deeds the protagonists plan and apply on people passing by. Sometimes, however, the circumstances of their mediocre lives and somewhat advanced age turn them into victims, in situations more or less tragic and irreversible — such as the unwanted pregnancy of a young daughter or the death of a irreverence comrade, whose tomb they visit at the beginning of the film. Still, even a disaster as the 1966' flooding of Florence can be object of a sentence or a flippant proposal. The comic effect is a result of the decoupage and editing of such an illogical succession/interpenetration of eccentric events. Thus, Monicelli active spectator's emotions that go beyond cathartic laughter in front of a merely ridiculous unusual, confusing, eschatological, etc. situation. All very different from the current Hollywood teen comedies, full of eschatology transformed without any creativity into cliché.