Relationships are a foray of storytelling that never ceases to entertain or enlighten. There are always new angles and new stories to tell. And with each generation comes a new outlet, new technology, new obstacles for communication and understanding – yet at the core the same desire for connection. In writer and director James D’Arcy’s Made in Italy, it is the fractured relationship between father and son that is the focus in this light, breezy and engaging film.
Though while engaging, balancing well the heavy-handed topics that weigh on its characters with the hope for change, Made in Italy is predictable and formulaic, following the layout of many films before, utilizing awkward shots and random narratives in an attempt to create its own identity.
“Things always look worse in the dark”
Spoken in reference towards the abandoned Tuscany home, Robert (Liam Neeson) and his son Jack (Micheál Richardson) have returned to with the intention of selling, this quote becomes the overarching framework of Made in Italy. When we are cast into darkness, it is hard to see the potential, to see the light – to see hope. For Robert’s son, his loss of memory of his deceased mother and a void of connection with his father has been a darkness that he has spent most of his life in. His father, grieving the loss of his wife, has navigated the darkness, never fully having escaped.
When Robert’s son faces losing everything in his divorce with his wife, he reaches out to his father to try and convince him to sell their Tuscany home in order for him to obtain his half of the estate to purchase the gallery he runs for his wife. The gallery has become something he has created, a light in his darkness – a light he sees potential to grow further. The problem – no one has been back to the Italian home in 15 years and Robert’s hold on the house is one he might not be ready to relinquish.
As Made in Italy unfolds one conversation at a time, audiences are introduced to a deeper and richer understanding of the motives behind father and son. The fractures that seemed so adolescent become deeply fissured, proving wounds can not be ignored, they have to be treated straight on. Even as predictable and formulaic as Made in Italy is, there is a catharsis born out of watching a father and son struggle to rectify the past and navigate a future that will resonate strongly with many audiences.
”Disappointment is an absolute certainty. How you come back from that is romance”
Made in Italy has its outstanding moments, every element of filmmaking and performance culminating in an almost breathtaking catharsis for audiences alike. Beautiful sweeping landscapes, the rolling hills, and the scenic vistas of Tuscany are captured in bright unobscured light. From the breathtaking view to inside the home, the set design lives up to the imagination of the “bones” within a Tuscany residence. Though disheveled from abandonment, its disarray creates a parallel for the relationship between father and son. The set is further elevated for the emotion of the film, a painting on the wall in black and deep red impossible to miss. There is a pain and an agony in its violent brush strokes, the shape ominously reminiscent of the Moth Man.
While the set design of the house and the surrounding landscape set the scene both visually and emotionally, what is immediately noticeable about Made in Italy is both the film’s score and soundtrack. This is a movie literally filled with the art of sound. From American guitar strums to the classic Italian vocal and instrumental accompaniments, the culmination is transcontinental, combining both worlds these men live in both in the present and the past.
As much as the film succeeds, it also falters. There are moments, scenes, in particular, audiences will find jarring and out of place, throwing you out of the vibe the film has worked so hard to create. Robert describing the perfect view from the villa, the motorcycle repair, and the spaghetti scene (which felt more uncomfortable than jarring), each breaking the traditional filming style. Each seemingly distant from the direction of the film itself.
Narratively, there is also the issue of Natalia (Valeria Bilello) and her ex-husband. It’s an empty storyline for Natalia and poorly developed, the ominous ex who seems to have malicious intent that will most certainly come into play. But it never does. Its shallow inclusion is seemingly only to give reasons for Natalia’s sympathy and compassion – as though she could not have these attributes on her own accord. For me, this was the biggest strike of the film, especially a film dominated by strong male characters. Her character was cheated depth as well as the ability to genuinely and innately be a person of kindness and compassion.
Conclusion
Made in Italy is a fine film to cozy up to, as long as you can overlook the awkwardness and lack of narrative development it presents at times to audiences. It is a perfectly good film, though one that does not separate itself from the rest.
Have you seen Made in Italy? What did you think? Let us know in the comments below!
Made in Italy will be released in selected theaters, Drive-ins and VOD on August 7, 2020.
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