Although Italian in origin, word “mafia” entered many vocabularies thanks to Hollywood films. In United States itself it was first used by press covering the event that are subject of Vendetta, 1999 television film directed by Nicholas Meyer.
The plot, based on the book by historian Richard Gambino, begins in 1890 New Orleans. Few decades earlier US Civil War has ended the slavery, but the local white elite has found new source of cheap labour in masses of desperate immigrants from impoverished sections of Italy. Some of those hard-working immigrants have managed not only to escape poverty but to amass wealth and influence, like Joseph Macheca (played by Joaquim de Almeida) who now begins to control docks and markets in the city. This doesn’t sit well among the old elite, led by James Houston (played by Christopher Walken), ruthless man does everything in his power to chase the Macheca from the docks. Many local politicians are in his pocket, including corrupt mayor Joe Shakespeare (played by Kenneth Welsh). On the other hand, Hennessy (played by Clancy Brown), his chief of police is an Irish immigrant who sympathises with other immigrants and refuses to take part in campaign against “Dagos”. When he falls victim to unknown assassins, Houston sees it as an opportunity and blames the crime on secret Italian organisation called “Mafia”. Macheca, together with few more Italians randomly picked from the street, is arrested and tried for murder. Excellent defence manages to win a verdicts of not guilty. Houston reacts by spreading rumours that the jury was bought and, as a result, infuriated mob begins to gather in front of jail ready to take justice in its own hands.
In 1990s, during the era of emerging “political correctness”, there was a lot of desire to reinterpret various chapter of US history from the perspective of various oppressed minorities. Script by Timothy Prager embraces this trend but goes a little too far. The bloody events in 1890s New Orleans, which had been described as the first manifestation of Mafia in USA and the first, albeit clumsy and ultimately unsuccessful attempt of new country to deal with the phenomenon, are given completely different treatment. In Vendetta Mafia doesn’t exist and it is suggested that it would later arrive as nothing more than natural consequence of events portrayed in the film or, in other words, the only way desperate masses of Italian immigrants could respond to ethnic and racial persecution to which they had been subjected in their new home. Black-and-white characterisation, according to which all Italian characters are blameless victims, while almost all non-Italian characters are racist and xenophobic bigots, makes the basic thesis behind this film look less than convincing. Nicholas Meyer, experienced director best known for his work on Star Trek films, does the solid job, though, just like the very good cast. Subplot of romance between film’s narrator, young Italian immigrant Gaspare Marchesi (played by Alessandro Colla) and Irish girl played by Meghan McChesney, seems a bit redundant and too much Hollywood for something that should be serious exploration of some important and universal subjects. The broader political issues, as well as diplomatic aftermath that nearly brought Italy to declare war on USA, are mostly ignored. Although more than watchable and mostly satisfactory, Vendetta looks like a film that could have dealt with its subject much better in form of documentary.
RATING: 5/10 (++)
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