20/05/2021 - In his fourth film, the singer-songwriter-director Federico Zampaglione ventures into a musical world that’s well-known to him, but doesn’t offer the added value we’d expect

After a black comedy (A Dreamhouse Nightmare [+see also:
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film profile]) and two horror flicks (Shadow [+see also:
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film profile], Tulpa [+see also:
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film profile]), the singer-songwriter-director Federico Zampaglione is venturing into a musical world that’s well-known to him in his fourth film Morrison [+see also:
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film profile], trying his hand at a coming-of-age tale with a distinct trap flavour where friends, glories and failures blend together to encompass two generations, namely those of the two main characters: a young musician who’s just starting out and a middle-aged rocker whose star is fading, both of whom share the joys and the sorrows of a career on stage and of a passion which “gives you so much, but which can also take everything away”.

Based upon the novel Dove tutto è a metà, which Zampaglione wrote alongside Giacomo Gensini (the two of them also penned the film’s screenplay together), Morrison is the made-up name of a highly recognisable venue in Rome, located on a barge on the River Tiber. It’s here that Lodo (Lorenzo Zurzolo) performs week in, week out with his indie band i Mob. But, crippled by insecurities and chronic shyness, this kid doesn’t quite fit the frontman role. Caught between a father who’s constantly distracted by women and is only capable of giving him money (Andrea Renzi), and a provocative and ambiguous flatmate come aspiring actress (Carlotta Antonelli), Lodo one day makes the acquaintance of former rock star Libero Ferri (Giovanni Calcagno) at a counter inside the SIAE (the Italian Society of Authors and Editors). This musician used the proceeds of his one successful song to buy himself a beautiful villa and, incapable of producing a second hit record, Libero now lives holed up in this stunning home, surrounded by memories, in the company of his loving wife (Giglia Marra).

Subsequently, Libero becomes Lodo’s mentor. He tries to build his confidence, he teaches him the tricks of the trade and, where required, he takes to the stage with him. But when the new single released by Libero – who’d been making clumsy attempts to adapt to the public’s new tastes – turns out to be a total flop, the wounded veteran artist slides into a self-destructive spiral (setting fire to several guitars) which also engulfs Lodo, who realises he doesn’t want to end up in the same position and decides to change course. Friendship and the strength of the characters’ passions will get everyone back on track, over and above any dreams of glory.

Because ultimately, nobody triumphs in this film, and this is the most interesting element of the story: a story about everyday people who make music out of love and who learn to live with the highs and lows of a profession which thrusts you into the spotlight. It’s a declaration of love on the part of Zampaglione, the leader of the Italian pop group Tiromancino, for his first calling as a musician. But the lack of any real insider’s view capable of telling us more than we already know, in this film which is written and directed by a singer-songwriter who’s been working in the industry for over thirty years, is pretty puzzling, as is the weak nature of certain parts of the film which sadly slide into cliché. Passion for music is described in words but it is never properly conveyed to the viewer, especially when it comes to young musician Lodo, who might have been made more appealing by way of a little extra vigour and vim.

Morrison is produced by Pegasus Entertainment and QMI in association with Vision Distribution, Sky and Amazon Prime Video. The film will be distributed in Italian cinemas from today, 20 May, by Vision Distribution.

(Translated from Italian)