Mario Monicelli
Amici Miei

Risking being unpopular, I gladly expose myself to talk about the unforgettable trilogy of Amici Miei. I am embarrassed to write this review, which certainly requires a lot of expertise.

I want to try to convey, especially to the younger generations, the immense value of the old Italian comedy. A snapshot of the 60s-70s-80s (the time span of the 3 episodes is spread over about 25 years), full of hidden meanings. Forget the asinine and vulgar comedies by Pieraccioni and Vanzina and try to rediscover one of the masterpieces of the great Monicelli (director of the first two episodes) and the less successful, barely decent third episode directed by Nanni Loy.

Unforgettable , majestic, I would dare say perfect, all the protagonists, who literally rewrote the history of Italian cinema with their incredible characterization and acting ability, giving the characters an astonishing credibility. The actors are the first true great asset of the three films. Starting with the great Ugo Tognazzi, a poignant and sharp performer in every frame of the film, in the role of Count Lello Mascetti. I see no reason to recount the events involving him; rather, I would describe the strong impact this fallen count manages to have on those around him. A manipulator, an undignified charlatan without rhyme or reason, who spends his life enjoying himself, mistreating everyone, escaping the misery he has created around himself with his own hands, master of no one but himself (until invalidity) and desperately clinging to friendship, probably the only thing that really matters to him. Philippe Noiret plays the journalist Perozzi, with a lover and great impatience with his wife and son, in need of friendly fun to escape the monotony of an overly oppressive family condition. Gastone Moschin, is Il Meandri, a city architect, passionate and distracted by women who end up turning his life upside down, more than once saved by the group of friends, who end up rescuing him, with the necessary sharp irony, in unacceptable conditions. Duilio del Prete first, Renzo Montagnani later, as Necchi, the bartender, and Adolfo Celi, as the tough, brilliant, and renowned surgeon Professor Sassaroli, complete the picture of this incredible group of "gypsies."

The story focuses on this immortal friendship that is not dismantled even by old age or death. It all takes place in Florence and surrounding areas, a stage for the characters' life stories, who rush to save each other in cases of need and not, and spend their time attempting to escape a reality that sometimes seems too oppressive and complicated. Thus, in moments of intense despair, the five engage in "pranks," such as the tower service at the famous Pisa Cathedral, or enjoy "massacring" some unfortunate victim (see the famous slap scene at the station). Goliardy, sharp sarcasm, and irreverent actions (there are dozens in the 3 episodes) might lead one to think of a comedy trilogy. And indeed, you laugh. But if you analyze the whole picture well, the films end up almost feeling dramatic. It is impossible not to be moved by the ending of each of the 3 films, always suspended between the thin line of comedy and drama (this is Allen's thesis, which I fully endorse, as heard in Melinda & Melinda). Because every group action is an evident attempt to escape from Nothingness and the time that passes inexorably, slowly taking everything away.

Unmissable is the micro language that is tailor-made for several interlocutors in some fragments of the films: among the most skilled are Il Mascetti (with his supercazzola) and Il Perozzi, "gypsy" to the end. The smile is bittersweet.

Many things can be said, but I find it appropriate not to go on and to open a necessary and, certainly, greatly enjoyable discussion, made of opinions and memories, to complete everything.