Maccheroni

Two incredible actors team up for this tender film about two World War II buddies who are reunited in modern day Naples only to find that Antonio (Mastroianni)has been forging letters to his sister from Robert (Lemmon) since the war ended. It was his way of helping her forget the American who left her behind. Worth viewing for the fantastic chemistry between both stars.

Lemmon and Mastronianni...what can I say? This is an explosive mixture, one of the best European actors with one of the best American actors.... no comments. Both their roles are great and did not expect less. From the movie I was expecting a different ending although it was not disappointing it left me with the bitter taste. Good comic and drama mix of Scolla.

This film came and went too quickly in 1985, but I was fortunate enough to see it in a movie theater at the time, and later to get the video of it. Jack Lemmon is an American business executive on a business trip to Naples (where he was stationed in World War II). He is a crabby, middle aged man, who has financial success but has lost a sense of enjoyment in life. Reenter his old friend Marcello Mastroianni, whose sister was once dating Lemmon. Lemmon is at first suspicious and standoffish (he barely recalls Mastroianni) but his curiosity makes him take up Mastroianni again. The latter is a clerk in a bank, but he is a part-time actor and dramatist, and the center of a large family group. He also has had an odd habit of dying and being resurrected again, since childhood. Lemmon gradually finds his humanity being restored, and finding he wants to be re-involved with his old friend's family. The conclusion veers to tragedy, but the conclusion is very sweet. I recommend this film strongly, to people who wish to believe.

My review was written in October 1985 after watching the film at a Columbus Circle screening room.

"Macaroni" is a mild comedy-drama teaming the formidable talents of Jack Lemmon and Marcello Mastroianni. Stronger in expression of honest sentiment than in its humorous component, the picture faces weak theatrical prospects via Paramount release as a pickup. It was originally scheduled to be an HBO Premiere Films presentation domestically (a slot it would fill comfortably) until the pay-cable outfit dropped out of the project.

Jack Lemmon toplines as Bob Traven (the joke on the mysterious novelist B. Traven's name is never explicit here), a v.p. At McDonnell Douglas visiting Naples as a consultant to Aeritalia. It's his first time back since 1946 when, as a G.i., he was stationed there.

As an acquaintance from that period whom he has completely forgotten, Antonio Jasiello (Marcello Mastroianni) looks Traven up and takes the at-first unwilling (too busy) American around town to meet the family and friends.

It seems that everybody knows Traven, because Jasiello has been surreptitiously writing letters using Traven's name over the years to his own sister Maria, who had a brief romance in 1946 with the American. She's long-since been married and now has adult grandchildren.

Relying too heavily on its two stars, at first abrasive adversaries but later best of friends as Lemmon unbends to Mastroianni's exuberant joie de vivre, "Macaroni" rarely achieves the comedic heights of director Ettore Scola's previous work. There simply isn't an abundance of funny situations or witty dialog here.

Best sequence has amateur playwright Mastroianni filling in as the villain in one of his monthly poverty productions. Heavily made-up (and looking oddly like the late Ernie Kovacs), Mastroianni is genuinely funny in the brief skit acted with Italian dialog.

Elsewhere, this English-language film is hampered by the dialog, with merely okay readings by Mastroianni, artificial dubbing of Isa Danieli as his empathetic wife and rote, direct-sound speeches by Daria Nicolodi as Aeritalia's p.r. Officer. Thesps' acting is okay but diluted by the language distraction.

Lemmon throws himself into his role with customary passion, pumping life into some routine scenes. Pic would have benefited from some period flashback material set in 1946 (especially given Scola's work in his 1974 "We All Loved Each Other So Much") but is rooted in the present. A contrived, melancholy ending doesn't come off.

Tech credits are merely adequate, with Naples' natural beauty shining through Claudio Ragona's strictly functional photography.

Pasta, as the staple food of all Italian households, serves as the symbol of that which sustains us physically. And life long relationships is what defines each and every one of us. In this respect, watching Mastroianni as Antonio and Lemmon as Robert is like watching two master painters at work creating a human landscape spanning decades.

In Antonio, Mastroianni reveals a man of integrity, caring, love and a sense of what makes us all human. Juxtaposed in Robert, Lemmon initially shows us a tired, bitter and disconnected man who no longer sees the real beauty in life. One cannot find two more opposite men at their respective stages in life. But it is here that the audience enters into their world or re-discovery.

As always, Jack Lemmon inhabits the soul of his character (Robert) while portraying the angst felt by a man in deep internal turmoil. But being the great actor Lemmon always displayed, he does not leave us with this one dimensional view of Robert. Rather Lemmon takes us, as the film progresses, on a journey into his re-discovery of a time in his life when happiness was real, taken for granted and lost. And in that realization, Lemmon gives us the real bitterness of his character. Having once loved Antonio's sister during his days in the Army while stationed in Italy, Robert knew, perhaps for the only time in his life, real joy and kinship with others.

Mastroianni gives a masterful performance of a dedicated bank employee who while he is not rich monetarily is rich in the knowledge of the love and respect he enjoys from family and friends. When Robert returns to Italy on a business trip in the present day, Antonio becomes overjoyed with the thought of rekindling the friendship he once shared with Robert. Mastroianni plays, with youthful enthusiasm, his excitement in seeing his 'old friend' Robert again. Antonio, in his simple way, has never lost sight of the true wealth of life. It is in this simplicity that Robert finds, at first, exasperation and then regret.

But watching these two masters of cinema go to work with their characters is liking watching a sculptor taking a lump of stone and turning it into a recognizable form. Lemmon and Mastroianni take the basis of their characters and give a master class in blending the two diverse characters. It is in this blending that both Antonio and Robert learn the real lesson in life - people's lives may change but their core does not. In the end, Antonio is aided by Robert who understands the importance of taking swift action to save Antonio's son who has gotten involved with some unsavory characters. Antonio comes to realize that his friend never stopped caring for him, he was just side tracked by his life in America. For Robert, he has once again felt that exhilaration that we can all know if we allow ourselves. And that is the exhilaration of unconditional, ever present love by friends and family which is the basis of all human relationships.

The final scene of the film is very fitting as we see Robert and Antonio's family sitting at the family dinner table being served pasta. The two staples of life are joined here just as Robert and Antonio were once again.