Lamerica

Gianni Amelio's "Lamerica" opens with footage of Mussolini's takeover of Albania in 1939, turning it into a vassal state. But the rest of the movie shows a different kind of takeover, with a pair of Italian scam artists going to Albania in 1991 hoping to set up a swindle, only to find out that conditions there won't make it so easy.

I understand that the movie poses the question of what constitutes "Italian-ness", as plenty of people in Italy have non-Italian ancestry (including Albanian). But more important is what became of Albania. Completely cut off from the rest of the world under autocrat Enver Hoxha (referenced in Spike Lee's "Inside Man"), it opened up in the 1990s, only to become a near-third world state. From what I understand, it's only been in the 21st century that Albania's been able to make any progress. No wonder this movie's protagonist experiences what he does.

It's not a great movie, but worth seeing.

This Italian film is actually set behind the fall of dictatorship in Albania, a country once part of Soviet rule.

LoVerso's part in the movie as one of the protagonists is wonderfully acted. The first film I had seen him in was Il Ladro di Bambini. LoVerso takes his characters and challenges them, creating deep personalities that continue to develop throughout the film.

I would recommend this film solely based on the wonderful acting by all actors in the film.

I first saw 'Lamerica' at its British premiere at the Edinburgh film festival. After the screening, director Gianni Ameilo, a wonderful man in love with his own film, gave an effusive talk about how it had been made: how he had wanted for years to make a film about his father's emigration from post-war Italy to America, but chose, at the time of the Albanian refugee crisis in Italy in the 1990s, to tell the tale allegorically instead; how he cast amateurs in almost all the roles; how he plucked the amazing Carmelo de Mazzarelli from a Scicilian street to play the role of Michele because he to liked his face; and how he directed him, never showing him the full script but merely telling him what was required from each individual scene. This may be an unconventional style of film-making, but the result is triumphant.

'Lamerica' is both epic and comic, some elements bring to mind David Lean and others Mike Leigh (a feat otherwise only managed, in my opinion, by the films of Emil Kusturica). The acting is superb, the comedy dry, laced with sad irony (even the occasional Albanian mis-translation of Italian is inspired). At the centre of this film is a conventional road-movie, a story of an odd couple who bond; but it's put into a wider context by the extraordinary scenes, set in Tirana, that top and tail the movie: this film is political as well as personal, addressing not just the contemporary Albanian reality but also wider questions, such as racism and the relationship of the affluent west to the poorer world. But what stands out most of all is the remarkable visuals, both of the stunning Albanian landscape and also of the people: few directors make as much use of the widescreen format as Amelio, and the way he creates landscapes from faces so expressive they are almost fluourescent is in a class of its own. In some ways, he is almost too effective in doing so: the film feels manipulative because of the power of the images in making its point (and one wonders, can life in Albania really have been this bad?). This is a film that might almost be silent, the pictures tell the story. When, for example, Enrico la Verso's character drinks the milk, the significance of this simple act hits home with the force of a sledgehammer.

Now released on DVD, 'Lamerica', one of the least typical but best films of the 90s, is well worth seeking out. And even if (like me) you have to wait 9 years for a second viewing, I promise that its imagery will linger in your mind.

"Lamerica" takes the audience through the devastation of post-communist Albania as it follows the odyssey of a young Italian man who has come to make some easy money but finds himself caught up in the same curious mix of hopeful despair etched into the faces of people he's come to swindle. The film has little plot, the feel of a documentary, and most of the scenes are perfunctory. Nonetheless, "Lamerica" will beg a strange fascination from those who find grizzled realism interesting.

Italian director Gianni Amelio is a true filmmaker who is absolutely committed to his art.It is this serious as well as loyal commitment to the real cause of cinema which has led him to make a unique place for himself as a filmmaker whose stories are rooted in culture and civilizations in which they take place.Whether it is Albania or China,films by director Gianni Amelio always make a lot of sense as they never neglect the local stories for reaching the global audiences.The scale on which Gianni Amelio shoots his films is grand.'Lamerica' is an enduring proof of the grandeur of his vision.In this film,he depicts the mean nature of some human beings for whom the other persons'sufferings are a source of personal aggrandizement.There is also a lot of authenticity as Lamerica is based on the real story about the collapse of Albania after the end of a very long communist rule.How an affluent culture is blindly followed by a less fortunate culture has also been vividly described in Lamerica. This is exactly an element which makes the whole story palatable to audiences' tastes.