Katarzyna Pyrek II MU AN

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The Italian American Cinema

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The crucial and influential part of the American Cinema represents the Italian American Cinema. The Italian American Cinema can be defined as films made by Italian Americans about relationships between Italians and Americans in the United States (Moliterno 2002:433). The Italian cinema has been appreciated and adored in the United Stated from its beginnings. Especially valued were its artistic and cultural quality, as well as the ability to transmit the values of the European history into films (Brunetta 2009:9). The reciprocal influences between Italian and American cinema date back to 1912 and have a Polish accent: in that year George Kleine, a film distributor from Chicago, purchased distribution rights to the film Quo vadis? based on the novel written by Henryk Sienkiewicz. After 1912 numerous Italian films flooded America: frequently used motives were Napoleonic campaigns and Homeric battles. Popular titles of movies from that period include Cajus Julius Caesar, Gli ultimi giorni di Pompei (The Last Days of Pompei), Spartacus among many others. Historicalmythological films became inspirational for such directors as David Llewelyn Wark „D.W.” Griffith and Cecil B. DeMille. After World War I popularity in the United States of America gained stars of the early Italian cinema: Francesca Bertini, Lyda Borelli and Pina Menichelli (Brunetta 2009:10). Another crucial moment in the relationship of American and Italian film industry was the emergence of neorealism. It began with such films as Roma, citta aperta (Rome, Open City) and Paisa (Paisan) and initiated the introduction of the films of Rosselini, De Sica and Visconti to the market of the United States. These films
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exerted an influence on the American Cinema: changed the way of acting, realistic sets and locations became widely used and the authorial integrity became protected (Brunetta 2009:10). In 1960s the genre of Italian films changed from mythological and historical to police thrillers. In the 90s there was an increased presence of Italian American actors and actresses in the film industry in the United States (for example Nicolas Cage, Susan Sarandon and Mira Sorvino) and the consolidation of the position of filmmakers. Brian De Palma achieved both commercial and artistic success with such productions as Raising Cain (1992), Carlito’s Way (1993) and probably the most recognizable Mission Impossible (1996). Moreover, a number of independent Italian American filmmakers established their positions in the American films industry, for example Michael Corrente with Federal Hill (1995) and American Buffalo (1996) (D’Acierno :642). The works of ’second generation’ are generally described as the Italian American cinema: artists representing second generation include above mentioned Brian De Palma and, above all, Francis Ford Coppola and Martin Scorsese. Martin Scorsese is one of the most recognizable filmmakers on the American scene. He is a son of Italian emigrants; was raised in the Little Italy section of Manhattan. His films are primarily to show Italy to Americans. Scorsese articulates a personal narrative of Italianness and reproduces the way in which Italian Americans observe the world (D’Acierno 1999:641). Francis Ford Coppola is a film director, producer and screenwriter born in a family of Italian immigrants. His film The Godfather (1972) revolutionized the genre of gangster movies and was praised both by critics and the public. The Godfather won three Academy Awards, whereas The Godfather Part II (1974) won even three more awards. Although both Scorsese and Coppola have not dealt extensively with their Italian-American heritage in their works, they have stressed the importance of the heritage in their private lives. The films of members of the ’second generation’ such as
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Coppola’s Godfather, Scorsese’s Raging Bulls, Mean Streets and De Palma’s Wise Guys present themes, issues, customs and traditions that can be described as related to the Italian-American culture and function as metaphors for the immigrant experience of the Italian-American (Moliterno 2002:434). Accoring to D’Acierno, ’Coppola’s is a cinema of the father; Scorsese’s is a cinema of the son’ (D’Acierno 1999:641). In The Godfather trilogy the ideal of manliness is visible; masculine features can be easily observed from Don Vito, to Don Michael and Don Vincent. Whereas in Martin Scorsese films, these ideals receded and are only artificially maintained and constitute an encumbrance for the sons (D’Acierno 1999:641). Also Moliterno (Moliterno 2002:434) highlights a crucial difference between the two notable artists. Coppola creates in The Godfather an Italian-American mythology, criticizes its criminal manifestations and explains the similarity between the methods of organized crime and of the government. On the other hand, Scorsese is critical about the masculine’s predominance. Film-makers of the ’third generation’ like Abel Ferrara, Tom Di Cillo, Stanley Tucci and, above all, Quentin Tarantino achieved success not only in the United States but also in other countries. Unlike to artists of the ’second generation’, their films do not reflect the Italian-American identity, as they are Italian-Americans only in terms of parentage. Most of their films do not contain characteristic Italian-American issues and traditions (Moliterno 2002:434). Above mentioned Quentin Tarantino, a son of Italian descent, became one of the most accomplished actors and screenwriters of his generation. He created such works as Reservoir Dogs (1992), Pulp Fiction (1994) and Jackie Brown (1997) According to D’Acierno (1999:661), Pulp Fiction, a film which is deeply rooted in the culture of post-fifties and is a central work in Italian American cinema. Pulp Fiction is distanced from the ’old ethnicity’ of The Godfather and presents multicultural society There are numerous Italian-American actors and actresses which are associated with the Italian American cinema. They are not restricted to such roles, however they are indispensable from the Italian American Cinema. The most popular artists include
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Al Pacino, Robert De Niro, Danny DeVito, John Turturro, Sylvester Stallone and John Travolta (Moliterno 2002:434) The Italian American Cinema plays undoubtedly a crucial role in the United States. Film directors like Coppola, Scorsese and Tarantino have changed its status in the dominant cinema. Nevertheless, the major representation of the Italian American films refers to crime movies (D’Acierno 1999:682).

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Brunetta, Gian Piero. The History of Italian Cinema: A Guide to Italian Film from Its Origins to the Twenty-first Century. 2009. New Jersey: Princeton University Press. D’Acierno, Pellegrino. The Italian American Heritage: A Companion to Literature and Arts. 1999. The United States of America: Taylor & Francis. Moliterno, Gino. Encyclopedia of Contemporary Italian Culture. 2002. London :Routledge

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