| SOUTH SIDE
STORY.(Review) / (movie review)
Author/s: Deborah Young
Issue: Sept 25, 2000
(SUD SIDE STORI)
(ITALY)
An Istituto Luce release (in Italy) of a Gam Film
production in association with Istituto Luce. (International
sales: Adriana Chiesa Enterprises. Rome.) Produced by Gherardo
Pagliei, Elisabetta Riga.
Directed by Roberta Torre. Screenplay, Torre, Franco
Maresco, Francesco Suriano. Camera (color), Daniele Cipri;
editor. Giogio Franchini; music, Gino Decrescenzo; musical
project, Torre Nicola Zaccardi; art director, Filippo
Pecoraino, Torre; costume designers, Alberto Spiazzi,
Alessandro Lai, Claudio Cordaro. Reviewed at Venice Film
Festival (Dreams and Visions), Sept. 6, 2000. Running time: 82
MIN.
Romea - Forstine Ehobor
Toni Giulietto - Roberto Rondelli
Aunts - Eleonora Teriaca, Rosa D'Alba, Giuseppa Vella
With: Little Tony (Antonio Ciacci), Mario Merola.
Confirming her title as the queen of Italian musical comedy
in "South Side Story," director Roberta Torre delivers a
second film very much in the mold of her tradition-bashing
debut, "Tano to Die For." If two loud, chaotic, neon-colored,
tongue-in-cheek songfests set in Palermo's slums seem a little
repetitive, Torre can at least vaunt the consistency of a
unique style miles from what everyone else in Italy is doing.
In comparing the two films, however, it becomes clear that the
aggressiveness of her mocking, new-wave pop style is much less
in synch with current pic, whose story about a local boy in
love with an African girl is an obvious take-off on a beloved
musical classic. If the novelty hasn't worn off for "Tano"
fans, domestic box office should be similar for the Istituto
Luce release. Elsewhere, distribs will have to chase down
niche auds looking for an offbeat kick.
Italy's growing immigration problem has been tackled in
social-minded, realistic films. Here, the underlying
condemnation of racial hatred is no less strong, despite the
tone of lighthearted burlesque. Romea (Forstine Ehobor), a
smashing Nigerian girl, is one of the $15-a-trick African
prostitutes who have been smuggled into Italy to work for
their "managers" until they pay off a colossal bondage fee.
When the girls move into a low-rent street they cause a
scandal among residents, comically repped by the three obese
aunts of Toni Giulietto (Roberto Rondelli), a rock `n' roll
singer and Elvis imitator.
The aunts have even more to shriek about when Toni and
Romea fall for each other, a romance opposed by Romea's
girlfriends, too. Each camp consults its witches for magic
potions to end the attraction, but to no avail. Echoing the
hostility between the Sicilian and African camps, Torre
contrasts the performance styles of two of Italy's most
popular warblers, Little Tony (an Italo version of Elvis, and
Toni Giulietto's idol) and famed Neapolitan singer Mario
Merola, a hero for Toni's aunts. Both make hilarious guest
appearances.
Torre's approach here lacks the daring political edge it
had in "Tano," where it was a perfect match for the vulgarity
of Sicilian Mafiosi. But like her first pic, this is very much
a group film performed by non-pro actors. Flashily duded-out
leads Ehobor and Rondelli, both making their screen bows, are
part of pic's incredible pop-art surface created by
cinematographer Daniele Cipri.
Catchy, toe-tapping tunes written by Gino Decrescenzo have
great energy and charm. Except for Rondelli, the singers are
non-pros clearly cast for their grotesque faces.
Filippo
Pecoraino's wild, unchained art direction dresses Palermo's
colorful slums as theater sets, which they naturally resemble.
Indoor sets seem inspired by children's art.
COPYRIGHT 2000 Cahners Publishing Company
COPYRIGHT 2000 Gale Group |
