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Rating: Welcome back, guys and gals, what do we ask from the "minor" Italian comedy? Relaxation, an hour and a half of wholesome fun, characteristic characters that emphasize the strengths and especially the flaws of the average Italian - the one none of us would want to be - and a touch of melancholy thrown here and there, between the lines of the conversation, almost to ennoble the underlying farcical message. All of this, in appreciable synthesis, can be found in many films by the Vanzina brothers, and, notably, in "Vacanze in America" ('84), which I will, as usual, analyze with you and for you.
It is a choral story that follows the path already skillfully traced by Steno's sons in the previous two years - with "Sapore di mare" and "Vacanze di Natale" - simultaneously inserting itself into the rich vein of post-adolescent cinema, where the protagonists are told in a rite of passage, in this case, a trip abroad organized by their boarding school. Thus, it extends into the centuries-old tradition of the coming-of-age novel, obviously filtered through the affectionate distorting lens of the national brothers' cinema.
A school class, made up of graduating students and former boarding school members with a few more years under their belt (Tognazzi Jr, Ferrari, Calà, Amendola, etc.), heads to the States accompanied by the enterprising Lazio priest Don Buro (De Sica) and the attractive mother of one of the students (a pleonastic, as she is never nude, Fenech in her last appearance on the big screen).
For the group, mostly composed of "boys" from the Roman suburbs, the impact with the United States will be the discovery of infinite spaces, new adventures, and new loves (Amendola-Interlenghi), for bawdy sexual excursions (doomed to failure) and perhaps even a final farewell to youth and carefreeness, which no one, however, wants to realize fully. The amusing Don Buro will discover a new world, yet return to his beloved Lazio province without excessive regrets.
Everyone will discover that after every journey, there is always a return, and that no matter how far one travels, each person is a prisoner of their own soul or their own clichés and habits.
From a technical perspective, the film does not differ from the average of other films of the genre, and does not stand out in the Vanzina brothers' filmography, capitalizing on the prolonged wave of blockbusters from previous years and the success accorded, at the time, to comedians like Calà and a rising De Sica.
At times, the depiction of the States appears sketch-like - but otherwise, it would not be a Vanzina film! - and the story itself sometimes develops in a superficial manner, without excessive sparks.
The added value of the work is found, however, in the unbridled acting of the two protagonists: Calà in his usual role as the immature man-child, in search of easy sex (watch out for his friend "Schiantatope"!), easy money, and an easy life, detached from any responsibility, delivers one of his best cinematic performances; De Sica's performance is lovely in the role of the moralistic and apprehensive priest, with a formidable "Roman castles" accent, just enough pestering.
Amendola and Tognazzi Jr.'s performances are amusing, with special attention to Fabio Ferrari, here in the general rehearsals of the legendary Chicco from "I ragazzi della III C". Gianfranco Agus's annoying cameo is decent.
A film that perhaps won't say much to most, but that has an undeniable and priceless quality: while watching it, you feel at home, among old friends who never betray, and the laughs that slip out, with the benevolence granted to Vanzina & Co., can bring a fleeting sensation of happiness.
No need to go to the States, just to discover they are maybe the same as Settebagni.
Happily Yours,
Il_Paolo
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