My Friends

1976
7.9| 2h20m| R| en| More Info
Released: 15 August 1976 Released
Producted By: Rizzoli Film
Country: Italy
Budget: 0
Revenue: 0
Official Website:
Synopsis

Four middle-aged friends in Florence organize together idle pranks (called zingarate, "gypsy shenanigans") in a continuous attempt to prolong childhood during their adult life.

... View More
Stream Online

The movie is currently not available onine

Director

Producted By

Rizzoli Film

AD
AD

Watch Free for 30 Days

All Prime Video Movies and TV Shows. Cancel anytime. Watch Now

Trailers & Images

Reviews

Smartorhypo Highly Overrated But Still Good
ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.
Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.
Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.
lasttimeisaw MY FRIENDS is originally a project for Italian writer/director Pietro Germi, whose untimely death in 1974 at the age of 60, leaves the film to be taken over by another maestro of the Commedia all'Italiana, Mario Monicelli. The film was a whopping box-office success, which subsequently would spawn two sequels, Monicelli would be back in the saddle with ALL MY FRIENDS PART 2 (1982) and ALL MY FRIENDS PART 3 (1985) would be outsourced to Nanni Loy. A double-bill of these two Monicelli's vehicles, set in Florence, MY FRIENDS has a quartet core of middle-aged men: Count Lello Mascetti (Tognhzzi), a down-and-out ex-nobleman who has squandered all his fortunes, can only slum it in a tiny basement with his suicide-driven wife Alice (Vukotic) and their daughter, which doesn't dissuade him from being smitten with an underage student Titti (Dionisio), who has a predilection for girls over men; the second one is Giorgio Perozzi (Noiret), a journalist separated from his wife Laura (Goodwin) and is irreconcilably at adds with his prim adult son; then there is Rambaldo Melandri (Moschin), a bachelor architect, determined to find his perfect half and lastly is Guido Necchi (Del Prete), married with Carmen (Tamantini) and they own a bar which serves as their haunt. Life is anything but optimistic, Pietro Germi and co.'s script conscientiously draws the milieu from reality, in both Mascetti and Perozzi's cases, one might easily finds company in distress and self- abandonment, but, not these four, feeding on their staunch friendship, the fold never relinquish their idiosyncratic practical jokes and escapades, mostly ingenious and borderline harmless, counting their classic passengers-slapping when a train departs and Mascetti's trademark "supercazzola" gibberish. And following Melandri's tireless pursuit of a married woman, Donatella (Karlatos), an embodiment of Madonna with psychological hiccups, a fifth member, Professor Sassaroli (Celi) is introduced, a renowned surgeon and the husband of Donatella, who is perversely liberal about the affair and is more than happy to not stand in their way if they are really made for each other, and of course, they are not, but Sassaroli is here to stay. One of their most detailed skits involves a penny-pinching pensioner Righi (Blier), who is hustled into believing that the quartet belongs to a mafia mob, with Sassaroli as their boss, dangled by the profitable income, Righi buckles down to join in their "dangerous" line-of-work, and their adventure culminates in a self-organized gangster melee, which leaves Righi in chagrin, utterly side-splitting thanks to Blier's bang-up po-faced bearing. The coda of MY FRIENDS deflects to a more sombre streak - a heart attack does Peruzzi in, all happens in a sudden but no grim sorrow is allowed to percolate, his friends keep their comic esprit de corps alive, even death cannot take it away. ALL MY FRIENDS PART 2 comes 7 years later, the story continues after Peruzzi's abrupt departure, the original cast returns (significantly older) except Del Prete, who is replaced by a more prosaic- looking Renzo Montagnani as Necchi, only the latter is not endowed with Del Prete's dashing and devil-may-care panache. The part 2 doesn't structurally pigeonhole itself as a strict sequel, owing to the huge pull of Noiret's Perozzi, there are abundant flashbacks charting Perozzi and Mascetti's past stories, which take place earlier than those in the first one, while without ghettoizing Sassaroli out of the picture (the original four becomes a quintet), it conspicuously creates some anachronism for viewers with fresh memory of the first installment. Gallantly interpolating the flood of Arno in 1966, the story manages to expound on Perozzi's marriage disintegration and take a taunting spin on Melandri's another devoted courtship to a voluptuous but God-fearing young girl Noemi (Giordano).Contriving an act of pulling Pisa tower back in perpendicular, gate-crushing a singing contest with a risqué song a cappella in the presence of cardinals, a chirpy caper involving a Spanish contortionist (Da Silva), their shticks never disappoint, meanwhile Mascetti has his own familial problem when his slow-witted daughter is impregnated by an unknown rapist and decides to become an unwed mother. Finally, a guest performance from Paolo Stoppa as Savino, a Shylock to whom Mascetti is indebted, he would fall prey into the quartet's pranks (includes a scatological one which sublimely tips the scale), and undergo several "invisible" operations to square off Mascetti's debts. Similarly, another heart attack befalls on one of the main characters near the finish, but this time, to a lesser extent, Tognazzi, Moschin, Noiret and Celi are all sterling comedians, but it is Tognazzi who stands out in his more sympathetic nobleman-in-distress mould. Inscribing their marks as quintessential pieces of Commedia all'Italiana, both films are salacious, amoral and pathologically funny, although the second one only logically contends to take a leaf from its predecessor's book. But essentially they are not connived as far-fetched escapist fares with a shamelessly patronizing smugness, their gypsyish antics are genuinely devised to imbue a positive vibe out of their quotidian misfortunes, despite that they can never hit the right note of the gender politics, yet, what do you expect from a buddy movie?
warrel Oh God,I am so lucky.I live in a small town in Greece and I have never heard of this film before.And it must be almost impossible to find it in DVD.I accidentally read about this film on the TV program.It was the movie of the day and it is rated with the highest grade.So,I decided to stay awake(because the film started around midnight-like many other great films in Greek TV!)and watch that really great film.It was one of the best decisions I have made recently.The film is about a company of middle-aged men.But they aren't typical 50-year-old men.These men don't care about right behavior,about what others say,about what the rules of society say.They decide to enjoy their lives,so they start making jokes to people and have real fun.They are like children that don't want to get older.First of all,it's one of the best comedies I have ever seen.The scene with Toniatsi and the others slapping the passengers of the train,who have their heads out of the window is one of the funniest scenes ever made.But the greatest part of the movie is,in my opinion,when they pretend the gangsters to make fun of an old man.But,apart from the funny scenes,this films has some things to teach us.It shows,first of all,what real friendship is.Secondly,it teaches us to enjoy our lives.These men have also problems in their lives,like other people.But they decided not to worry so much about them,and as result,they really LIVE THEIR LIVES.And I was really jealous of them,because that's the most important thing,but we often forget that.To sum up,this film is hilarious,moving,sentimental,with really lovable characters and it has some important things to teach.What else do you want from a film?
The_Void My experience of Italian comedy before seeing this film extended only to the sex comedies featuring such beauties as Edwige Fenech and Barbara Bouchet, and although I enjoyed the humour in most of the ones I've seen; I have to admit that generally I enjoyed the films more because of the stars. My Friends is a straight Italian comedy and thus the reliance is on the jokes and situations more than sexy lead stars to sell it; and while I cant say that the film is laugh out loud funny (at least not to my tastes), this is a very good film and certainly one that will appeal to fans of Italian humour. The plot is fairly simple and, as the title suggests, basically just focuses on a group of four friends. They're all middle aged and have good professions (with one exception). They wander around town and get their kicks by pulling pranks and generally annoying people. The film features a number of plot threads; the first of which sees the gang land themselves in hospital and one of them ends up meeting the beautiful wife of the top surgeon.My Friends is something of a film of two halves and I have to say that I enjoyed the first half more. The tone is always light and breezy although the film does get a bit more ambitious and involving in the second half and that doesn't suit it as well. There doesn't really seem to be a defining point to it; the only one I could see really was the idea of the central characters being older men and still enjoying life. The lead characters are depicted as almost being like children and that's one of the film's biggest running jokes and seeing grown men mess around like the characters in this film has a sort of surreal humour of it's own. The film focuses more on situation than any actual gags and we do get some interesting and well worked scenes that are very funny; seeing a load of middle aged men slapping passengers on a train for example is fun to watch. I would imagine that most of this film's fans are native Italians and I can't see a film like this ever being a big hit outside of it's native country - but for fans of Italian movies, this comedy is a winner.
Varlaam Perhaps if Pietro Germi had had the opportunity to direct his own script, this one might have turned out differently. Unfortunately, he died before that could happen, after quite a distinguished, if generally unheralded, career.Without him at the helm, we are left with something that is just plain offensive. From the get-go.There are a tiny handful of films I've ever walked out of. "Ilsa, She Wolf of the SS" comes to mind. I'd had one gratuitous torture scene too many in that instance.I walked out of this ostensible comedy after 80 minutes, during the "fun-filled" suicide scene. I remember that there was a laugh during the film's first half hour although it seems hard to believe that there were any at all in retrospect.Philippe Noiret is in the cast. He's a personal favourite and usually a reliable judge of material. His faith in this script was misplaced.Noiret is involved in what should have been one of the film's "subtle" moments. The four old buddies, the central characters, sing the quartet from Verdi's Rigoletto. (The song is not identified as such. It's an Italian movie so there's no need to.) Then later Noiret sports a fake hump on his back just like the tragic court jester. Obviously someone (Germi?) had a gag in mind at this point, but no connection is made between the two incidents. It's just dead, like the rest of the film.The four buddies are the central characters and the central problem. As we get to know them, they turn out to be malicious jerks -- sort of the middle-aged Jerky Boys of Italy -- and they are soon enough joined by a fifth halfwit.I regret to say that these loutish characters like some of the same things I do, like Cynar and finocchio. That's about the only thing they have to their credit.Director Mario Monicelli recycles one of Germi's old sight gags. During a caper, one of the four, the crudest of the "funnymen", Ugo Tognazzi, is seen reading a copy of "Famiglia Cristiana" magazine. Ha, ha. That particular incongruity was tastefully funny back when Germi was directing, in "Seduced and Abandoned" (1964), I think it was. Not here.The screening did receive steady laughs throughout, most noticeably from the two fellows of questionable taste behind me. But I noticed the room had a lot of other laugh-free zones, not just mine.This one is sour, and negative, and extremely misogynistic. You really have to have a grudge against the fair sex to derive any pleasure from this film.