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You Won't Find A More Shallow Treatment Of Fascist Symps Than Franco Zeffirelli's 'Tea With Mussolini.'
By James DiGiovanna
MY COUNTRYMAN FRANCO Zeffirelli has directed some 19 films,
from the gorgeous-but-vapid Romeo and Juliet (1967), through
the beautiful-but-insipid Brother Sun, Sister Moon, to
the lovely-but-moronic Jane Eyre. With a slight suspension
of intellectual faculty, all of these films have been deeply rewarding
on some level--the one at which they're really pretty to look
at.
Unfortunately, his latest is not quite as picturesque. Tea
with Mussolini is perhaps Zeffirelli's most intelligent film,
but that's kind of like picking Stephen King's most romantic novel.
Based on Zeffirelli's autobiography, it focuses largely on a
group of English women living the English dream, i.e. spending
all of their time far away from England. They're part of the ex-pat
community that grew up in Florence in the 19th century. Seeing
themselves as the heirs to the Brownings, these women make mediocre
paintings and second-rate poetry while enjoying the hospitality
of a country made newly efficient by the rise of Mussolini.
The film begins in 1935, when Italy and England were still on
good terms. The imperious head of the English colony notes her
approval of the new Italy by telling a friend, "We live in
an age of great dictators." Yes, but Mussolini invaded Abyssinia,
she is told. Of course, she replies, "All of the best people
in Europe have empires."
Played by Maggie Smith in her usual stiffly regal style, Lady
Hester is fond of fascism and afternoon tea, and despises Americans,
Jews and crassness. Thus, she is triply irked by the arrival of
crass, Jewish-American singer Elsa, played by crass, Native American
singer Cher.
Elsa, Hester, the dowdy Mary (Joan Plowright) and the hopelessly
artistic Arabella (Judi Dench, in a rare non-Queen-of-England
role) all take part in raising young Luca, a boy whose father
doesn't want to be bothered with his illegitimate son. Thus, young
Luca, a stand-in for director Zeffirelli, gains an entire gaggle
of mothers who attempt to teach him how to be a good Englishman.
Oddly, in spite of the fact that this is Zeffirelli's autobiographical
film, and Luca is supposed to be Zeffirelli, Luca drops out of
the film for a period in the middle so as to allow the plot to
focus more closely on the relationships between the women.
The story drifts between the characters then, but there are too
many for any one to take on much interest. The script, though
occasionally funny, is incapable of providing much texture to
the different women beyond the simple stereotypes of stiff Englishwoman
(Maggie Smith), caring nanny (Plowright), ditzy artist (Dench),
lesbian archaeologist (Lily Tomlin) and vulgar American (Cher).
Tea with Mussolini attempts to pick up the pace by having
the years drift by, imposing the numbers "1936," "1937,"
"1938," etc. over the screen as montage images show
the effects of fascism and World War II on a previously peaceful
Italy. Since the war has little effect on the women other than
to move them from their estate to a barracks and then to a luxury
hotel, it seems more like some distant inconvenience than an actual
problem. Scenes of smuggled passports and midnight meetings with
dissidents look, through Zeffirelli's gorgeous lens, like a great
deal of fun--a kind of game of hide-and-seek. Much of the drama
is leeched out of the war years by the fact that nothing ugly
is shown on screen, and none of the characters seem to be in great
danger.
It's only when the Nazis take over Italy that at least one of
the women comes into jeopardy. Elsa, the Jewish American whose
vast wealth has kept the group safe and pampered throughout the
war, might be arrested by the Gestapo. But it seems odd that only
the wealthy and beautiful Elsa (well, she's supposed to
be beautiful, though Cher's post-modern approach to plastic surgery
strikes me more as "scary" and "weird") is
affected by this situation. Weren't there, I don't know, some
6 million other Jews who faced a bit of trouble at this time?
Usually, a Zeffirelli film is saved from its lack of depth by
the precise camerawork and lush art direction; but here that's
been toned down, perhaps so as not to take away from what Zeffirelli
thought was his most serious work. The cinematography remains
impeccable but is far from showy, except for one wide-angle shot
through Mussolini's marble hallways. Instead of eye candy, Zeffirelli
offers up a string of witty quips in his script, including such
bon mots as "the Americans can even vulgarize ice
cream," and "is that an Italian 'I'll do it' or an American
'I'll do it'?" However, these are spread thin so as to avoid
trivializing his subject with humor. Unfortunately, Zeffirelli
trivializes it even less amusingly with the inconsequential lives
of his characters.
Tea with Mussolini is playing at Catalina (881-0616)
cinema.
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