Marcello Mio, the review of the film that pays homage to Mastroianni from Cannes 2024

September 26, 1924, the day of birth of Marcello Mastroianni, almost a hundred years ago. And this is the anniversary that Christophe Honoré intends to celebrate with his new film with the emblematic title, My Marcello. In competition at Cannes 2024, and then immediately in theaters in the original version from May 23rd, for a choice that we welcome: we like the idea of ​​the film being distributed with subtitles, given the successful mix of languages ​​in which the story develops , and we also like the release at the same time as the move to the French festival, which allows the public to enjoy the title when we professionals can tell them about it in advance.

In the role of Marcello Mastroianni

The surreal but touching story of My Marcello focuses on Chiara, Mastroianni’s daughter, and her mother Catherine Deneuve over the course of a troubled summer. A limited and tormented period during which Chiara decides to revive the figure of her father and does so through herself, impersonating him in every way: she begins to dress like her father, speak like him, even breathe like him, with such strength and intensity that even for those around her it is starting to become natural to call her Marcellus and imagine that it could be him, back among us. All carried out with taste and delicacy, including references, quotes and winks to the life and works of one of the greatest actors in history.

From father to daughter

The heart of Marcello Mio are its protagonists, Chiara Mastroianni in the first instance, and her mother Catherine Deneuve, who dialogues with her and carries forward a story that moves between Paris, Rome and Formia. They are the entrance door into this particular filmic world. They are the ones who welcome the spectator and allow him to slowly enter the story: if you manage to enter the story and not be taken aback by it, it is because the two actresses eliminate the distance between them and the public, making this bizarre phenomenon credible, with warmth and affection. operation. Chiara Mastroianni is good at evoking the myth of her father without falling into the easy trap of mimic it ways, times and movements. She’s good at making the viewer end up falling intodeceit (or should we say homage). Like the characters in the film who give in to the temptation to call her by the name of her missing father.

My Marcello, between limits and warmth

Cinema is something strange, in which sometimes it is difficult to be analytical, cold, aseptic. A movie like My Marcello it is a strange entity, one of those that could end in failure, collapse in on itself and its eccentricities, but instead step by step it opens the doors of the Mastroianni home and manages to convey that warmth that the homage to the great Marcello brings with it self. Even if there are passages in which the film runs in circles, and if in some moments one has the feeling that the direction to take was not clear, Christophe Honoré manages to keep everything in equilibrium: the affection, the quotes, the references to the most important moments of the actor’s career (the revival of Marcello Mastroianni’s television appearance together with Mina deserves applause).

Chiara Mastroianni is good, as mentioned, but Honoré is above all skilled in holding the reins of the project and ensuring that it does not slip away from that difficult line of balance that is created, keeping the most surreal and delicate aspects credible, never intrusive in the ‘gift. And then it’s a fun film, above all. A work that entertains with taste, beyond the necessary celebration. My Marcello it is a difficult film to frame, but overall successful and enjoyable, which is aimed both at the cinephile who can appreciate the more celebratory component, and at those who want to watch a film that is entertaining. With grace and measure.