Comedy “Cosa Nostra” with Irma Vitovskaya. Ukrainian copes with the mafia – our man in Italy

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Comedy «Cosa Nostra» with Irma Vitovskaya. Ukrainian woman copes with the mafia – our man in Italy

The Ukrainian-Italian comedy “Cosa Nostra. Mama Rides” was released, which is already a success in Italy – the perfect movie for the weekend

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I don’t know what we all expected from this film – about a Ukrainian woman in Italy. Rather, they expected something from Irma Vitovskaya – she is a talented actress. However, a lot depended, firstly, on the script, and secondly, on the director. The director-debutant – Italian Giovanni Dota – turned out to be a strong professional. Now, as for the script. The idea of ​​the picture belongs to the Ukrainian screenwriter and producer – Anastasia Lodkina. The essence of the plot is to place our strong-willed, active “typical” Ukrainian woman in Italian conditions, who loves to break men over her knees and control children and husbands in everything. But then she ends up – in a mafia family, where, of course, all decisions are made by dad – he is also the godfather of the mafia. Lodkina and three Italian screenwriters made such an alignment in which our woman manages to remain herself here. It turned out to be easy, fun and profitable – both for the heroes of the film – and for the audience: in May, the tape collected a good box office in Italy. “Focus” figured out how it all managed to be done.

Ukrainian women have been working in Italy for a long time, for the most part they are governesses, cleaners, nurses. As the heroine (actress Rimma Zyubina) of the melodrama “The Dove's Nest” (2016), which received many prizes. She and others like her are pulling on families: Ukrainian women send money to Transcarpathia – to their husbands, who cannot manage the tourism business and, in fact, live on their wives' dependents. These women dominate in their home country, but abroad – at the level of servants.

At the public premiere at the Zhovten cinema, where Irma Vitovskaya was, I reminded her of an interview with Focus,where the actress claimed that “Ukraine is a matriarchy” . In particular, Irma played the same strong-willed and active Ukrainian – Galina Rott, a taxi driver who pulled her infantile sound engineer son on herself in the film My Thoughts Are Quiet (2020). And Cosa Nostra is an option for the export of Ukrainian matriarchy. Irma agreed, but added that the same type – and her Lesya in the sitcom “Lesya + Roma” (2005-2008) and even Baba Prisya in “Brama” (2917).

One is a young housewife, another is a middle-aged taxi driver and a grandmother stalker from the Chernobyl zone. They differ in age, but not in character, they are approximately the same type: a strong-willed, witty, enterprising Ukrainian woman who regularly tucks men into their belts. Of course, Vitovskaya added a lot of herself to all these heroines.

Initial idea

In the “Nest of the Turtle Dove” there is a “zarobitchan” anguish. And screenwriter Anastasia Lodkina decided that it was necessary to somehow export our victorious “matriarchal” Ukrainian to Italy.

There is one big problem here. In order for a woman to behave so actively and harshly, the male environment must be infantile and soft. It is this type of behavior that our compatriots show in the opening scene of “Cosa Nostra”, when Vlada Koza sold the house and utensils and arranged a farewell feast with a mountain in the Carpathian village – she went to Italy to her daughter – to help with the child, where she got married and only gave birth. Vlada ruled Ukraine, sold goods at exorbitant prices, but with jokes, she is a motor woman.

However, how can she remain the same in a tough mafia environment, where the head of the family and one of the godfathers of the mafia, Fredo Lagana (played by famous Italian actor Giovanni Calcagno)? He is a rigid adherent of patriarchal traditions and orders that are not discussed.

Lodkina was added by as many as three Italian screenwriters – Matteo Visconti, Giovanni Dota and Giulia Magda Martinez, to figure out how a collision with this type of our Vlada should do her good, and not go sideways or end in death (although the scene with a gun put to her head still was). And so that the Goat remains in its role – an energetic, arrogant and enterprising lady (without signs of a victim of circumstances or male self-will). And at the same time, give her the same profession – cleaners, so as not to sin against the truth. The four writers solved this extremely difficult task by making a number of assumptions.

They weakened a number of Don Fredo's positions. He served 15 years and is just getting released. From his mafia – there was one person. His wife died and he became a widower. He owes money to a bigger mobster. Three adult children do not respect him very much: not one of them came to meet him after his release. Lagana in crisis: like a father, like a mafioso, like a businessman.

The point of intersection between him and Vlada is a family crisis: her daughter was not happy in Italy, suffering in Ukraine from the despotic nature of her mother. And his daughter, who managed to have a child from someone unknown (a blow to the honor of the family), also respects the parent, who was imprisoned for 15 years, much less than two sons.

Caught up in his house as a cleaning lady, Vlada, as usual, climbs into other people's affairs and begins to give advice. Don Fredo at first sharply upsets her (“The servants were definitely not asked for their opinion”), but then he says aside: “But it's not a bad idea.” He begins to listen to the advice of a Ukrainian woman – this is how the first bridge between Vlada and the Don appears.

European “oddities”

I will note some “oddities” of this picture, although they are quite natural. Our Ukrainian woman, finding herself on the street in Italy, for some reason, immediately made friends with prostitutes. Of all the criminal businesses of the mafia (drugs, arms trafficking) – again – it is on it that the film focuses. But Ukrainian women are regularly involved in scandals in this kind of activity. But nowhere were any offensive boundaries for our national self-consciousness crossed. The scriptwriters worked subtly, on the edge.

Another of the European “bells and whistles” – in the film, Don Fredo's daughter – does not focus on the gender of the child, he is always in animal masks and you will not understand: is he a girl or a boy? “When he grows up, he will choose his gender,” the daughter of the mafia dad shouts defiantly. They say that this is such a European “gender” fashion – to raise a child without focusing on gender.

Happened!

The film has torture, murder, virtual prostitution (the picture was shot in the midst of covid), but nevertheless – it is really funny, colorful, juicy, burlesque – it turned out to be a classic comedy of positions and masks, the same thing – dell'arte, which Italy is famous for.< /p>

And in the center of the story is a Ukrainian woman. As active and interesting as at home. The export of Ukrainian matriarchy to Italy can be considered successful. The young director correctly placed the accents. Characteristically, the closer to the finale, the women take on more responsibility. The formula of the film: Ukrainian woman – Italian mafia – Ukrainian-Italian mafia with softened morals.

The painting, according to Irma Vitovskaya, swept across Italy with great success. We hope that, despite the blackouts, it will also collect the box office here – this is a very difficult film, although it seems somewhat naive in appearance. A lot of team work was done to make the action and characters look natural. Well, Irma, of course, played her favorite role perfectly.

“I didn't need to get used to this image,” she said laughing at the premiere. Why, if this Vlad has a very large percentage of Irma herself. But at the same time, she, like the heroine, had, by the way, to learn Italian at a decent level. This time. And two – to get fat: the director saw Ukrainka bigger. “Don't you want, señora, more pizza or pasta,” the actress amusingly copied Italian cordiality.

In general, “Cosa Nostra”, despite some shortcomings, is a huge victory for FILM.UA and Italian film companies Pepito Produzioni and Ray Cinema. It's great that such a bold project, conceived by Anastasia Lodkina, ended triumphantly. Bravo!

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