The cinepanettoni (sg.: cinepanettone) are a series of farcical comedy films, one or two of which are typically released annually in Italy during the Christmas period. The films were originally produced by Aurelio De Laurentiis' Filmauro studio.[1]
Starting in 1983, some farcical or comic movie were released every year around Christmas time in Italy, and were known as cinepanettoni, a portmanteau of Italian: cine for "cinema", and panettone is a type of sweet bread traditionally eaten at Christmas.
These films are usually focused on the holidays of stereotypical Italians: bungling, wealthy and presumptuous members of the middle class who visit famous, glamorous or exotic places. Films were set, for example, in the Netherlands (Merry Christmas, 2001), Egypt (Christmas in Egypt – Natale sul Nilo, 2002), India (Christmas in India – Natale in India, 2003), America (Christmas in Miami, 2005, or Christmas in New York, 2006), and Cortina d'Ampezzo (Christmas holidays in Cortina – Vacanze di Natale a Cortina, 2011). Directors included Carlo Vanzina, Enrico Oldoini, and Neri Parenti.[2]
Many of the screenplays are not related to Christmas, other than those set in Italy.
The protagonists (almost always Massimo Boldi and Christian De Sica) joined by other comic couples (Sabrina Ferilli, Ricky Memphis, Biagio Izzo, Alberto Sordi, Claudio Bisio, Alessandro Gassmann, Michelle Hunziker, Ezio Greggio) and international guests (Danny DeVito, Luke Perry, Ronn Moss) find themselves struggling with their holidays and the various messes that combine abroad. The children of these will often be the only ones able to solve the complicated situations created by their own fathers, who do nothing but get involved in intrigues with the underworld or love affairs.
Italian critics[who?] have often considered such films of little ethical or educational value, because they contain large amounts of scurrilous and vulgar phrases and characters providing a bad example of education to young viewers. It often happens in stories that characters played by De Sica and Boldi, mature and elderly people, loom too large on the scene, preventing younger actors from making a mark. Other critics have noted that this line of films, including the authors, actors and directors, represented and emphasized the era and the power of Silvio Berlusconi, and the ideals of his supporters.[3]
Despite their poor critical reception, by 2002, the films had grossed 700 billion lire ($350 million).[1]
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Netherlands
Egypt
India Switzerland United States United States
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South Africa Italy Dominican Republic
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