Running time: 89 minutes
Starring: Luke Kirby, Ginette Reno, Paul Sorvino, Claudia Ferri, Peter Miller
Rating 6 out of 10
A gay-themed comedy set among Canada's Italian community, Mambo Italiano could easily be retitled My Big Fat Italian Salami, given the debt it owes to Nia Vardalos' huge Greek family-based hit of two years ago. But Mambo Italiano can be enjoyed on its own terms, as it's an often funny look at the difficulties of coming out, especially if you are both gay and Italian.
An independent feature from Canadian film group Cinemaginaire, the film depicts the goings-on in a working-class Italian émigré family, and is full of what might be called stereotypes if they weren't actually true. Mother Maria (Ginette Reno) and father Gino (Paul Sorvino) are proud people whose remaining goal in life is to marry off their two twentysomething children, Angelo (Luke Kirby) and Anna (Claudia Ferri). But there's a problem: the daughter is receiving constant psychiatric help, and even worse Angelo shows little interest in the girls that the famiglia present to him.
This is because Angelo is gay, and as he says himself, 'there is no fate worse than being gay and Italian'. He spends his days talking to a kindly voice on the Gay Helpline, and when he meets his best friend from school, now a handsome cop, the two strike up a friendship which soon becomes a relationship. Angelo and his beau move in together, pretending all the time to their respective parents that they are would-be Italian stallions, while sharing more than a passion for salami with each other.
Inevitably the truth must out, and when Angelo realises that he can't live his double life any longer he breaks the news to his parents. Initially they are shocked and go through the gamut of hysterical reactions. But gradually they come to terms with their son's situation, providing several mirthful scenes along the way.
Based on Steve Galluccio's play of the same name, the film makes the transition well from stage to screen. This is thanks to a script which has clearly been expanded to introduce other characters and locales, as well as zippy direction from Emile Gaudreault. The cast also acquit themselves well, with Luke Kirby and Peter Miller providing an easy charm as the secret couple, and Paul Sorvino adding his considerable talent as the exasperated father. Not all of the jokes hit the spot, but there are several laugh-out-loud moments, and the good-natured message of the film is one of tolerance and acceptance.
An independent feature from Canadian film group Cinemaginaire, the film depicts the goings-on in a working-class Italian émigré family, and is full of what might be called stereotypes if they weren't actually true. Mother Maria (Ginette Reno) and father Gino (Paul Sorvino) are proud people whose remaining goal in life is to marry off their two twentysomething children, Angelo (Luke Kirby) and Anna (Claudia Ferri). But there's a problem: the daughter is receiving constant psychiatric help, and even worse Angelo shows little interest in the girls that the famiglia present to him.
This is because Angelo is gay, and as he says himself, 'there is no fate worse than being gay and Italian'. He spends his days talking to a kindly voice on the Gay Helpline, and when he meets his best friend from school, now a handsome cop, the two strike up a friendship which soon becomes a relationship. Angelo and his beau move in together, pretending all the time to their respective parents that they are would-be Italian stallions, while sharing more than a passion for salami with each other.
Inevitably the truth must out, and when Angelo realises that he can't live his double life any longer he breaks the news to his parents. Initially they are shocked and go through the gamut of hysterical reactions. But gradually they come to terms with their son's situation, providing several mirthful scenes along the way.
Based on Steve Galluccio's play of the same name, the film makes the transition well from stage to screen. This is thanks to a script which has clearly been expanded to introduce other characters and locales, as well as zippy direction from Emile Gaudreault. The cast also acquit themselves well, with Luke Kirby and Peter Miller providing an easy charm as the secret couple, and Paul Sorvino adding his considerable talent as the exasperated father. Not all of the jokes hit the spot, but there are several laugh-out-loud moments, and the good-natured message of the film is one of tolerance and acceptance.
