Tea with Mussolini (1999)

Tuscany, 1935, a group of ladies walk along the streets of the city deservedly considered one of the world's art pearls, Florence. We don't know the ladies at first but, in time, we find them intelligent women who perfectly understand English but hardly understand orders. These are Scorpioni, elderly English women who will play a decisive role in the story as well as in the life of a young boy, Luca, strikingly similar to the director himself in his youthful years, Franco Zeffirelli...

Zeffirelli's autobiographical movie TEA WITH MUSSOLINI is a charming sentimental piece of work the action of which takes place in the Italy of the 1930s and 1940s: the hardest period not only in the lives of those many who were living then but for the entire 20th century history, when, as many readers will probably agree with me, humanity seemed to be conquered by infernal ideologies and bestial hatred. Yet, according to what Zeffirelli shows us in the movie, even in those darkest days, there was also room for beauty protection, care, art admiration and mutual help. As a Zeffirelli's fan, I consider TEA WITH MUSSOLINI one of the director's best films. But not because it only shows how bad war was. That is something most of us already know well. I love the film for other reasons. I like it because...

...there are moments when you will cry, when you will think and when you will genuinely laugh. A proper balance of emotions supplied by the director makes the movie a very decent entertainment filled with affection, sorrow, even nostalgia but also fun, charm and comfort. Who can possibly skip the scene of football match, for instance? I also laughed openly at the moment the ladies teach the soldiers saying "Good night". Isn't that a useful way to teach good manners and a foreign language at the same time? The moving moment in the orphanage will leave your eyes teary and the words of Ms Wallace about our contact with dead people may put you to nostalgia. But not for long. This fact of the film's "heart" goes in pairs with brilliant musical score Zeffirelli is famous for in his movies galore. What depth is there in this music and what supply of positive emotions!

...there are, except for variety of moments, beautiful Tuscan landscapes which make the movie a true postcard from Florence, San Gimignano and a true promotion of the Florentine art. This is also in accordance with the "soul" that Zeffirelli is so deeply attached to. The colorful hills around San Gimignano and the unique flowers under the Tuscany's sun leave hardly anyone indifferent. Consider, for instance, Luca's introduction of San Gimignano while he follows the bus with the ladies.

...there are foremost genuinely flawless performances that have to be linked to the deep development of characters. That is the aspect I'd like to pay more attention to in my comment. The ladies who occur to be at the focus are unforgettable. They supply the partly Italian movie with the truly English spirit. Maggie Smith does a wonderful job as Lady Hester: elegant, well mannered but also naive in her confidence in Mussolini and reluctant of Americans, the lady who drinks the spectacular but tragic tea with the duce. Judi Dench is memorable as Arabella who has drunk the wine of Florence, warmed her hands with the fire of Boticelli and Michelangelo and wants to share this inner experience with other people. Joan Plowright is, as usual, genuine and unforgettable. She fits to particular roles and although she has car

Fmovies: This is a melodrama and you should not expect anything else. But what a melodrama! In the hands of a great director, using an eccentric story involving some eccentric people, it conveys straight to the heart how the great darkness descended upon Europe in the 1930's. It tells you that the greatest evil is the work of humans, and that the potential for evil lurks in the human soul. But, and here is the movie greatest strength, it shows you that humans possess the capacity to be human and to act human, when they heed Shakespeare's advice: "Love thyself last". All the negative comments that can be made about this or that deficiency caused me to downgrade this movie's rating from a "10" to a mere "9". Go see it. If you have kids - make sure to take them along for a great and satisfying lesson about life as it should be lived.

TEA WITH MUSSOLINI is Zeffirelli's tribute to his own war-time

upbringing, and while it is undeniably sentimental, it is also a

wonderful movie. A young, illegitimate boy who is rejected by his

father (who is married to another) is raised by his secretary (Joan

Plowright). She is part of a group of English ex-pats living in life on

very fixed incomes in Florence on the eve of WWII. Plowright's

other peers include Maggie Smith as the insufferably snobbish

widow of a consulate, who never lets anyone forget her status.

There's also Judi Dench, an artist, who is a gentle soul and an

animal lover. Lily Tomlin is an American who keeps a watchful eye

on the ladies at the danger comes closer to engulfing them all.

And then there's Cher, the widow of a rich man who comes and

goes throughout Europe in search of good art and a good time. All

these women have come to love the young boy who is now about

14 when the movie begins. Cher, whose character is Jewish is

damn near ruined by a scheming lover, and her life is in danger.

The British contingent has been sent to close quarters in Sienna

where they are forced to live in close proximity to each other, as

prisoners of war. The war is nearly over with the Americans

advancing on Sienna. The young man helps to arrange Cher's

escape and the woman stop bickering long enough to help the

Americans liberate Sienna and all ends happily.

Some have complained that Cher is terrible in this movie.

Nonsense. She's playing a head-strong, independent woman

who is in charge of her own life. This is a variation of the same

theme she has worked as an actress, entertainer and personality

for more than 40 years. The final parting with the young boy is

tear-inducing. Cher looks sensational and gives a heart-felt

performance. The ladies--Dames Joan, Maggie and Judi are

adorable and winning as expected with Lily Tomlin offering a

wonderful portrait of a tough journalist who comes to their support

when the going gets rough. The young boy as Zeffirelli is also

terrific. The scenery is gorgeous, and you can't see too many

stories about interesting, off-beat characters on the loose in Italy

as far as I'm concerned.

Tea with Mussolini fmovies. This is a very European movie. Whereas Hollywood overstates, Europe understates. The story is based on the autobiography of Franco Zeffirelli, born in 1922, who became a prominent Italian stage director and achieved world fame as a director of filmed stage pieces such as "Romeo and Juliet," "Hamlet, and "La Traviata." The film deals with the years 1935-44. After the death of his mother Zeffirelli, or Luca in the film, an illegitimate child more or less rejected by his father, was looked after by a group of eccentric art-loving English ladies who had made Florence their home - on their terms. The locals call them the "Scorpioni" - a tribute to their acid tongues. When Mussolini declared war on Britain in 1940, the ladies were interned in a beautiful mountaintop village near Florence, guarded by a couple of long-suffering policeman, their lifestyle of sketching, painting, art appreciation and fine dining scarcely changing.

The setting is the Florentine treasure troves of Tuscan art, the Uffizi, Il Duomo and the Academy. The English are led by three grand dames of the theatre, Joan Plowright as Arabella, Luca's chief protector, Maggie Smith, and Judy Dench (with her real life husband Michael Williams in a supporting role as the British consul.). Then there are two equally larger than life Americans, a retired but still glamorous movie star played by Cher, and a bike-riding lesbian archaeologist played by Lily Tomlin. Most of the Italian characters are overshadowed by all this Anglo ego. (Or maybe it's just poor dubbing, or John Mortimer's part in the scriptwriting). The two boys playing Luca at different ages are good looking but the older one in particular is a bit vacuous, and Cher's impossibly handsome Italian boyfriend puts in a wooden performance.

There are a couple of plot-lines (will Cher escape the Jewish round-up, will the ladies make it through the war OK) and the occasional funny scene but the interest is really in the characters. Not that all of them are particularly attractive people. Maggie Smith's Lady Hester, widow of a former British Ambassador to Italy, is a dreadful old snob with hardly any brains who likes the fascists and has scarcely a good word for anybody else except her late husband. She engineers the tea party with Il Duce, fondly imagining that Mussolini himself will ensure the ladies' safety in Florence. A few days later the local fascists tip them out of the Uffizi gallery where they were accustomed to take tea while they sketched the old masters. Yet at the end she does show a little genuine good grace when she intervenes to help Cher.

It's a curious piece, reminiscent of "Life is Beautiful" - a light comedy with a deadly serious titanic struggle between good and evil going on in the background, a background which seems altogether too gorgeous to accommodate such evil. Good, represented by a Scottish major, triumphs in the end, only to be put in his place by the Scorpioni. Zeffirelli here pays his artistic and personal debt to them. Wacky though they were, the Scorpioni did know the difference between good and evil, or at least the difference between good art and bad art, and they taught Zeffirelli well.

After nearly 20 years as a top pop and television star, Cher suddenly skyrocketed to film stardom in the mid-80's, walked off with an Academy Award, ranked among the top ten box-office stars and just as suddenly disappeared from the big screen in 1991 after one last hit "Mermaids"(1990) cleaned up at cinemas. In 1999 she made a tremendous comeback with a multimillion selling CD "Believe"(Warner Bros, 1998) and most impressively returned to the big screen with a luminous performance in Franco Zefferelli's "Tea With Mussolini"(MGM,1999). Reviews were mixed but after I saw this in the movie theater, I felt the film was rather good. Based on an autobiography by Zefferelli recounting his early years trying to survive the Nazi-Mussolini atrocities of WWII. During this dangerous time Zefferelli was protected by a coterie of socialite dowagers played splendidly by Maggie Smith, Judi Dench, Joan Plowright, Lily Tomlin and of course Cher who was perfectly cast as a gorgeous Jewish chanteuse. The story has some holes and the film was probably edited down too much for its US release that cause some continuity issues but this is overall a charming, thoughtful period piece highlighted by Cher at her latter day peak. Shame this success did not resuscitate her dormant film career. She has made nothing of note since.

It's certainly not clear how fictionalized a version of Zeffirelli's autobiography "Tea With Mussolini" is, what with the usual disclaimers at the end. Even presuming this is just a riff off an incident in his life, that he had some contact with memorable English ladies, it's clearly his tribute to where his love of English literature comes from, particularly Shakespeare. He's done several Shakespeare interpretations-- movies, opera and play directing. The film has a lovely scene of him being first introduced to acting out "Romeo & Juliet" with puppets, as well as constant quotes from Shakespeare throughout about war and his situation.

I was surprised how good the movie was - I was in tears several times, especially with visuals that bring up the same comparisons as "The Train" did, with art vs. war, humanity's heights of creativity vs. its lows of prejudice and violence.

These Oscar-winning ladies are absolutely terrific, yes including Cher. One elderly gentleman behind me complained that Maggie Smith basically always plays the same character but I thought her character does change towards the end. The others were certainly not their usual on-screen personas, Judi Dench as a free-spirited artist, Joan Plowright as a quite warm-hearted grandmotherly type, and Lily Tomlin a hoot as a butch archaeologist.

But why choose bland Italian actors for them to play off of? To make the Scorpioni, as they are called, stand out more? The Italians seemed stereotyped to me, Latin lover, ignorant peasants not appreciating their ancient artistic heritage.

What the movie also brought to mind is how few Italian movies have dealt with their fascist past as much as the French have been exploring their consciences of collaboration in film. Sure "Garden of Finzi Continis," "Two Women" and "Life Is Beautiful" show arrests, etc. but I don't get the sense of soul searching as to how did this happen here and could it again? Just because they didn't have Shakespeare and appreciate the treasures of the Uffizi as this film implies? (originally written 5/15/1999)