Marcello Mio (2024)

Home » Posts » Marcello Mio (2024)
Marcello-Mio-(2024)
Marcello Mio (2024)

Diving into an artist’s work can be a singular opportunity to learn about their motivations, their thoughts, and the world of those thoughts some public, some until now unknown. The conversations these works spark are interesting in themselves. Or anyway they should be. Sometimes we open the vaults only to find that the light does little more than peer in. Or when it does so what is shown is a shallow dissection which was not worth the original investigation. It will have much on its mind about what acting dynasties leave behind for their children, but even “Marcello Mio” is a dull exploration without any meat.

The movie takes place in another universe where every character seen is a fictionalized version of the real actor they are portraying. Chiara Mastroianni (playing herself) is in crisis; she feels inadequate professionally and personally. She believes this stress comes from her connection with her late father: Italian screen icon Marcello Mastroianni. So she takes matters into her own hands after seeing his face on TV one night too many times and dons a suit, fedora hat, fake mustache and thick-rimmed glasses becoming “Marcello.” This confuses everyone around her, especially Catherine Deneuve (also playing herself), who plays her mother here, ex-husband Benjamin Biolay and filmmaker/family friend Fabrice Luchini take these things in stride more than others do. There’s also a totally made-up character British soldier Colin (Hugh Skinner) — who finds kinship with this new personality of hers. It’s a screwball comedy supposed to illuminate something deeper about these sad feelings.

But what that deeper thing is becomes this film’s fatal flaw. One sees where writer-director Christophe Honore wants to go; there are threads he means to follow through with. The idea of defining your own identity while living under comparisons with family members has some meat on its bones. As every character is a slightly off-kilter mirrored version of the actual person, there’s a therapeutic roleplay that is kind of interesting to think about watching. Well, not watching at all but thinking about. You start to realize as it goes on that whatever commentary here was supposed to be mined has no value. This acting dynasty tearing others down because they’re insecure with themselves does not work outside of these people’s lives – emotionally or otherwise. What Chiara wants to answer for herself through this weird drag performance never really gets out of shallow waters. Her curiosity is too internally driven for it to reach any further than that.

Unfortunately, the story was just a little underdone. The one thing that might be said to have succeeded were the more obviously magical realms with which this material attempts to play. It has echoes of past Honoré works like “On a Magical Night” where an enchantment is cast around some strange place for things to happen in. This is most evident in Colin — the character who isn’t played by any actor other than himself supposed to act as an introduction that’s meant to be fantastic, mysterious, and very sexy too; and Chiara’s trip through Italy does further poke at what could be called multiple layers within this already complicated world. But these trips also embody zoning out storytelling which can kill a narrative drive.

There’s something enchanting about Chiara here too. What makes her portrayal so complex is how fractured our view of it happens to be; but even though she is imagined as such a commanding figure there seems no way for all those different parts of herself into which we’re invited ever really fit together so that in the end Deneuve hardly seems worth mentioning (she doesn’t do anything). Still though I appreciate Luchini’s charm and Skinner brings a lot especially because he doesn’t live according with any given moment’s values thereby allowing his character much freer movement at least limited time frames provide some kind of effect upon us or another person etc.

The idea behind “Marcello Mio” is good: It wants to create an interesting point by taking established conventions and giving them just enough twist so they reflect on art while considering personal situations too. But nothing comes together as it should have done neither do we get any satisfaction from following along its overlong self-indulgent path through every banal observation possible without trying construct something deeper than this still life portrait with words painted around everything being wrong since nobody can save such heavy handedness except maybe few members among cast who made decent contributions but even those won’t suffice when entire project comes apart like house divided against itself then left without air to breathe closing throat till finally choking out life.

Also On Putlocker.

Leave a Comment

Your email address will not be published. Required fields are marked *