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Lockdown all'italiana
I'm not a Vanzina fan. I think Greggio is a rather poor comedian who has never moved from the already mundane gags of the eighties. Martina Stella reminds me a theatre teacher of mine who felt bad just hearing her name. I have no great ideas about Ricky Memphis. Despite this premise, I sympathized with all of them when this film came out. For sure you remember just posting the poster and the trailer triggered a series of comments on social media: "Aren't you ashamed even a little? Of all the people who work at Medusa, did anyone think you were doing a bullshit? " and "Nothing, suck it." Just two, as example, among the many who, without having seen it, added up the names of the cast and the subject of the story and decreed that it was a little respectful bullshit for all Covid’s deaths.

After seeing "Italian Lockdown", I am even more on the side of Vanzina. This film doesn't offend the covid dead. Absolutely not. But I must say that after cleaning the social comments of the insults, that this film is horrendous, banal and badly done.

Enrico Vanzina's goal, which officially marks his directorial debut, is quite clear, that is, to make fun of the Italian vices caught in the middle of the lockdown, inspired by the classics of Italian comedy, quoting (rather shittily) Alberto Sordi and Vittorio Gassman, with that bit of bitterness that here finds its highest point in a short monologue by Greggio which naturally ruins completely with his little interpretative capacity (the sense of the words was not so wrong). In between, Barbara D’Urso TV and people's ignorance also ends.
So far so good, but it is useless to remember that Vanzina is not Monicelli and that Greggio and Memphis are not Sordi and Gassman.
Thus we see a rather dull story with the Piedmontese comedian who again becomes the mature man (rather mature) who has affair with young girls. Well, young girls in a sense, considering that Martina Stella at thirty-six is still there to be a young girl in the throes of youth fires. Ricky Memphis, too, does nothing but repeat the classic character of the Roman borgataro and simple that undergoes events. The quartet of stars has also Paola Minaccioni, perhaps the only one who should know something about acting but who is struggling with a stereotypical character to the maximum and who has very little to say (besides she also co-signs the screenplay).
While the aforementioned Barbara D’Urso is a target of satire, a series of trashy characters rehabilitates and underlines the greatness of Queen Barby. The most striking example is certainly Maria Luisa Jacobelli, daughter of Xavier Jacobelli director of Tuttosport, TV presenter, influencer, competitor of Temptation Island, whose artistic performance is worse than a child who plays in kindergarten (but with the difference that Maria Luisa can boast a generous décolleté). There is also Romina Pierdomenico who gossip in hand is Greggio's girlfriend, who renews, this time well, the tradition of some Italian comedies, shot to the cry of "everyone inside!"
Summing up, " Lockdown all’italiana" is to all intents and purposes a film of a rare ugliness, whose noble attempt is destroyed by what has already been said and by a direction and editing that do not seem to have the slightest idea. Not to mention the credits with the bloopers, a stuff from the nineties.

Mariella (Paola Minaccioni) discovers that her husband Giovanni (Ezio Greggio), a rich lawyer, is cheating on her. On the outskirts of Rome, Walter (Ricky Memphis) discovers that his partner Tamara (Martina Stella) is cheating on him. The two couples break out, they plan to separate but the lockdown is triggered, thus forcing them to live together. The intertwining of the two stories that I am not emphasizing, however easy they are to understand, lead the four to confront their own lives and their partners "ironically" as mentioned, on the vices and habits of Italians, also including a dating app called " Famo Bingo ".
If we want really to find a merit, it is the first film released after the lockdown in Italy. We would have gladly done without it. Both the lockdown and the movie.