Il testimone dello sposo

Two of the three previous squibs here are negative. Ignore 'em. This film is delectable-- showed it to a roomful of old/young relatives Christmas night, and they all were delighted (while arguing with a pat ending). Huge cast-- more than 40 speaking characters, nearly all distinct and well-acted. Reminiscent of Visconti's THE LEOPARD, its art direction and costumes make for a lovely evocation of provincial Italy wedding, everyone in their best, on Dec. 31, 1899 (a good reason for rushing out to rent it right now). Most interesting as a compendium of folk rituals surrounding weddings in late nineteenth century, some familiar and a few bizarre. The film would be worth seeing for that alone-- but watch for the delicacy of the hero's interactions with the several women who pursue him, or the two beautiful group scenes over the wedding gifts.

This film has so much going for it--exquisite art direction, beautiful costumes, wonderful cinematography, and a loving and meticulous attention to detail in depicting a turn of the century (1900) wedding in a small Italian town--that I would rate it higher but for the somewhat implausible screenplay.

Without giving plot details away, suffice it to say that the film begins with an interesting premise as it explores the betrothal rituals of this particular time and place that reduced women to objects essentially bartered away to the highest bidder. The heroine of the story, played by the absolutely exquisite Ines Sastre, rebels on her arranged-marriage wedding day, and the plot continues from there.

Diego Abatantuono, no slouch himself in the looks department, plays a long absent stranger who, having made his fortune in America, returns to the town and ends up participating in the ceremony. Things get more complicated from there.

Both actors are outstanding in their roles, but in the end a willing suspension of disbelief is needed to accept the film's conclusion. However, the visuals are so stunning, the period detail is so layered, and the principal actors (as well as the those who play the townspeople, all given their moments) are so fascinating to watch that almost all is forgiven.

It's 1899 and in Sasso, the small town in Italy, a marriage is going to take place. Naturally, the end of the century is in everyone's minds at what appears will be a festive occasion taking place during that historical New Year's eve. The only problem is the bride doesn't love the groom; everything indicates this is an arranged marriage by the impoverished family of the bride to a wealthy man.

Pupi Avati, a man who has worked steadily in his native Italy for a number of years is not a well known name among the American movie going public. Mr. Avati deserves much better, as he demonstrates with this tale of how things were done among the moneyed classes in Italy, where a simple wedding takes epic proportions.

Francesca, the beautiful bride doesn't want to get married to Edgardo, who is much older and appears to be a lecher and a profligate. The young woman is torn between duty and her own repugnance toward the man who would be her husband. At this point a mysterious guest appears on the scene. He is Angelo, an Italian who emigrated to America and, according to the popular belief, has made a fortune. Because of the fortune he made abroad, Angelo has been asked by Edgardo, who comes from an upper class background, to be his best man.

Angelo, we find out, has been a lucky man because he didn't built the fortune he now possesses. When his older brother died, he left Angelo everything, thus making him a rich man. Angelo keeps looking at Francesca during the wedding ceremony. It's clear both have developed a passion that is not meant to be. In fact, Angelo is blamed for everything that goes wrong with the wedding.

"The Best Man", the English title for this movie, offers a great performance by Diego Abatantuono, an actor that kept reminding us of Gian Carlo Giannini. In that both rely effectively on the expression of their eyes. In fact, one can see all the emotions going through Angelo just by looking at the actor that is giving him life on the screen to find out what is going on in his head and in his soul. Mr. Abatantuono plays his character with an economy of gestures. Pupi Avati knows what he is doing and nothing prepares us for the outcome of the film.

Ines Sastre, the gorgeous Spanish actress, is perfect as the young bride Francesca who hates the husband her impoverished family has imposed on her. Ms. Sastre is an equal match for her co-star in a subtle performance that could have been overblown by another, less experienced director. Dario Cantareli plays the older groom who wants Francesca.

This film didn't get any attention in this country since there is no market for these types of films. Pupi Avati's work should be seen more often because he hasn't received the recognition he deserves, at least in America.

I viewed The Best Man as a laserdisc, with Italian dialogue and English subtitles.

The story is drenched in century-old Italian culture, which is of much intrinsic interest to me. Cinematography, costumes and sets were high quality, down to the matched horses pulling the carriages. The plot is basically a romantic comedy, with few surprises. The majority of the movie takes place on New Year's Eve, 1899. The movie's focus was on the cultural shift of those times, away from the 19th century tradition of `arranged' marriages. The central character, Francesca Babini, rebels at her parent's choice of an arranged spouse. Her parents pressure her to go through with the marriage and succeed only in creating a disaster. The ending is a triumph for the modern, 20th century view of romantic love. I would recommend this movie both for those interested in historical Italian culture, and those looking for a good `date' movie.

I didn't see any profanity, nudity or violence that would merit the movie's `R' rating.

On new year's eve 1899 a young woman is betrothed to marry a man she doesn't want to. The best man arrives on the scene an she falls instantly in love.

The art direction and costumes are beautiful in this period drama, but many of the tongue-in-cheek references are a bit jarring. For no reason characters say things like, "I wonder if we'll go to the moon in the next century" and "the 1900s will know no war.

As far as portrayal of women. It starts out as a woman trying to take control of her life and ends up depicting her as an obsessive, submissive nut who is convinced she married the best man at her wedding rather than the groom.