Maccheroni

Lemmon and Mastronianni...what can I say? This is an explosive mixture, one of the best European actors with one of the best American actors.... no comments. Both their roles are great and did not expect less. From the movie I was expecting a different ending although it was not disappointing it left me with the bitter taste. Good comic and drama mix of Scolla.

Macaroni casts Jack Lemmon as an American businessman on a trip to Naples, his first since World War II when he traveled on a group rate and probably landed at Salerno. The Neapolitan women were most grateful to the Americans for liberation, most grateful indeed.

Over 40 years go by and Lemmon now a successful businessman is on business in Naples and he's greeted in his hotel room by an old friend he doesn't recognize. Marcello Mastroianni is at first dismissed when Lemmon doesn't recognize him, but the picture he leaves of Lemmon and his sister does the trick.

With some trepidation Lemmon seeks out Mastroianni's family and finds the sister now a matronly grandmother. Naturally he was expecting some unknown offspring, but her's can all be attributed to the husband she later married.

Mastroianni is a dreamer and a dramatist of sorts. He's involved with what we would in America call a stock company as he writes and directs and stars in little dramas of his own. In one we see him as an Italian version of Snidely Whiplash. And he's created a whole drama around Lemmon as he wrote letters in Lemmon's name recounting a life that some pulp fiction hero would have envied. You can imagine Lemmon's reaction when he learns of his other life.

Pretty soon Lemmon is sucked into the family and as things aren't going well in his personal life in America, he's soon involved with the whole family. The end however is bitter sweet.

Macaroni is essentially a two person film with no real flushing out of any of the other characters played by actors and actresses unknown to American audiences. Lemmon and Mastroianni are good together though nothing like Lemmon and Matthau, but who was?

It's an easy to take film goes better with a glass of red wine.

My review was written in October 1985 after watching the film at a Columbus Circle screening room.

"Macaroni" is a mild comedy-drama teaming the formidable talents of Jack Lemmon and Marcello Mastroianni. Stronger in expression of honest sentiment than in its humorous component, the picture faces weak theatrical prospects via Paramount release as a pickup. It was originally scheduled to be an HBO Premiere Films presentation domestically (a slot it would fill comfortably) until the pay-cable outfit dropped out of the project.

Jack Lemmon toplines as Bob Traven (the joke on the mysterious novelist B. Traven's name is never explicit here), a v.p. At McDonnell Douglas visiting Naples as a consultant to Aeritalia. It's his first time back since 1946 when, as a G.i., he was stationed there.

As an acquaintance from that period whom he has completely forgotten, Antonio Jasiello (Marcello Mastroianni) looks Traven up and takes the at-first unwilling (too busy) American around town to meet the family and friends.

It seems that everybody knows Traven, because Jasiello has been surreptitiously writing letters using Traven's name over the years to his own sister Maria, who had a brief romance in 1946 with the American. She's long-since been married and now has adult grandchildren.

Relying too heavily on its two stars, at first abrasive adversaries but later best of friends as Lemmon unbends to Mastroianni's exuberant joie de vivre, "Macaroni" rarely achieves the comedic heights of director Ettore Scola's previous work. There simply isn't an abundance of funny situations or witty dialog here.

Best sequence has amateur playwright Mastroianni filling in as the villain in one of his monthly poverty productions. Heavily made-up (and looking oddly like the late Ernie Kovacs), Mastroianni is genuinely funny in the brief skit acted with Italian dialog.

Elsewhere, this English-language film is hampered by the dialog, with merely okay readings by Mastroianni, artificial dubbing of Isa Danieli as his empathetic wife and rote, direct-sound speeches by Daria Nicolodi as Aeritalia's p.r. Officer. Thesps' acting is okay but diluted by the language distraction.

Lemmon throws himself into his role with customary passion, pumping life into some routine scenes. Pic would have benefited from some period flashback material set in 1946 (especially given Scola's work in his 1974 "We All Loved Each Other So Much") but is rooted in the present. A contrived, melancholy ending doesn't come off.

Tech credits are merely adequate, with Naples' natural beauty shining through Claudio Ragona's strictly functional photography.

I lived in Naples at the time and those Americans who did loved this movie. There were many inside jokes that you could only know about if living or have lived in Italy. However, my sister saw it having never been in Naples and thought it was both touching and Naples. The people and and the city is really like it. Jack Lemmon doesn't play his typical character but plays straight man to the city and the people of Naples and seeing his reaction to this strange world of people and back alleys is hilarious. The movie reminds me a little of an Neopolitan version of the movie Cannery Row but much more funnier. Most Americans hate Naples until after a few months living there an then love it. The movie captures that spirit. Well worth seeing especially if you ever want to visit bella Napoli. I agree with the previous comment that the movie came and went all too fast...a sleeper.

Two incredible actors team up for this tender film about two World War II buddies who are reunited in modern day Naples only to find that Antonio (Mastroianni)has been forging letters to his sister from Robert (Lemmon) since the war ended. It was his way of helping her forget the American who left her behind. Worth viewing for the fantastic chemistry between both stars.