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AbstractHistoryArchive Description
Ninety-Nine Per Cent is Giorgio Mangiamele's only comedy. Gaetano Rando says of the film that it is 'to some extent based on a narrative style that recalls Pirandellian umorismo (Lampugnani 2006) but also contains significant elements of slapstick humour. It tells the story of Pino, a short and fat Italian widower, who decides to remarry when the principal of his son's school accuses him of not being able to look after his son properly. Given the scarcity of women willing to marry Italian migrants--a theme elaborated in the Italian comic film Bello onesto emigrato in Australia sposerebbe compaesana illibata (Zampa, 1971) [. . .] and, later, in Love's Brother (Sardi, 2004)--Pino resorts to a matrimonial agency and is assured by the manager that he has a 99 per cent chance of making it with a beautiful tall blonde. When he calls on the lady in question, she cruelly derides him. The likeable protagonist is left only with his son to console him' (Rando, 'Liminality' pp. 213-214).
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Ninety-Nine Percent
2012
single work
essay
— Appears in: World Film Locations : Melbourne 2012; (p. 20-21) -
Liminality, Temporality and Marginalization in Giorgio
Mangiamele's Migrant Movies
2007
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 1 no. 2 2007; (p. 209-221) This article approaches Giorgio Mangiamele's work is a rare example of Culturally and Linguistically Diverse [CALD] involvement in the early development of Australian cinema in the post-war period. His feature film Clay (1965) was the first Australian film to be invited to enter the competition at the Cannes Film Festival.
It outlines his significant yet largely ignored contribution to the emerging Australian cinematic culture, particularly to the development of 'art' cinema. Over a thirty-year period Mangiamele made fourteen films as director or director/producer that present themes related to the Italian migration experience in Australia in the 1950s.
Rando suggests that Mangiamele's focus on dislocation, alienation, loneliness, and nostalgia for the home country constitutes the experience of his emblematic characters struggling to make sense of a society that is in many ways unaccepting. This article proposes to apply the concepts of liminality and temporality elaborated by Hamid Nacify (2001) to the analysis of the themes related to the Italian-Australian diaspora in the films of Giorgio Mangiamele.
Source: Author's abstract
-
The Representation of the Italian Australian Diaspora in the Films of Giorgio Mangiamele with Particular Reference to the Two Versions of 'The Spag'
Liminarieta e temporalita nell interpretazioni cinematografiche della diaspora italoaustraliana di Giorgio Mangiamele
2007
single work
criticism
— Appears in: La diaspora italiana dopo la Seconda Guerra Mondiale 2007; (p. 119-132; 349-362) -
Comedy and Humour, Stereotypes and the Italian Migrant in Mangiamele's 'Ninety Nine Per Cent'
2006
single work
criticism
— Appears in: FULGOR , December vol. 3 no. 1 2006; 'Giorgio Mangiamele is regarded as the most significant first generation Italo-Australian filmmaker of the post-war period. Yet, in spite of his "pioneering efforts" and his attempts to be accepted into Australian mainstream cinema by adopting English dialogue and Australian characters in many of his films, he remained to an extent marginalised as an "ethnic" filmmaker, achieving recognition and some government financial support only towards the end of his life.' -- from the author's abstract. -
A Profile of Giorgio Mangiamele
2000
single work
biography
— Appears in: Senses of Cinema , March no. 4 2000; 'This little known Italo-Australian filmmaker is a unique and significant figure in Australia's history of cinema.'
-
Comedy and Humour, Stereotypes and the Italian Migrant in Mangiamele's 'Ninety Nine Per Cent'
2006
single work
criticism
— Appears in: FULGOR , December vol. 3 no. 1 2006; 'Giorgio Mangiamele is regarded as the most significant first generation Italo-Australian filmmaker of the post-war period. Yet, in spite of his "pioneering efforts" and his attempts to be accepted into Australian mainstream cinema by adopting English dialogue and Australian characters in many of his films, he remained to an extent marginalised as an "ethnic" filmmaker, achieving recognition and some government financial support only towards the end of his life.' -- from the author's abstract. -
The Representation of the Italian Australian Diaspora in the Films of Giorgio Mangiamele with Particular Reference to the Two Versions of 'The Spag'
Liminarieta e temporalita nell interpretazioni cinematografiche della diaspora italoaustraliana di Giorgio Mangiamele
2007
single work
criticism
— Appears in: La diaspora italiana dopo la Seconda Guerra Mondiale 2007; (p. 119-132; 349-362) -
Liminality, Temporality and Marginalization in Giorgio
Mangiamele's Migrant Movies
2007
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 1 no. 2 2007; (p. 209-221) This article approaches Giorgio Mangiamele's work is a rare example of Culturally and Linguistically Diverse [CALD] involvement in the early development of Australian cinema in the post-war period. His feature film Clay (1965) was the first Australian film to be invited to enter the competition at the Cannes Film Festival.
It outlines his significant yet largely ignored contribution to the emerging Australian cinematic culture, particularly to the development of 'art' cinema. Over a thirty-year period Mangiamele made fourteen films as director or director/producer that present themes related to the Italian migration experience in Australia in the 1950s.
Rando suggests that Mangiamele's focus on dislocation, alienation, loneliness, and nostalgia for the home country constitutes the experience of his emblematic characters struggling to make sense of a society that is in many ways unaccepting. This article proposes to apply the concepts of liminality and temporality elaborated by Hamid Nacify (2001) to the analysis of the themes related to the Italian-Australian diaspora in the films of Giorgio Mangiamele.
Source: Author's abstract
-
A Profile of Giorgio Mangiamele
2000
single work
biography
— Appears in: Senses of Cinema , March no. 4 2000; 'This little known Italo-Australian filmmaker is a unique and significant figure in Australia's history of cinema.' -
Ninety-Nine Percent
2012
single work
essay
— Appears in: World Film Locations : Melbourne 2012; (p. 20-21)
Last amended 2 Feb 2012 13:31:24
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