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80This gets my vote as director Franco Zeffirelli’s finest film. Certainly, it’s his most personal.
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80Its rich movie-ness is heightened by the talents involved. John Mortimer knows how to shape scenes with dialogue, much as painters know how to turn shapes with color. Zeffirelli, in his long career as designer and director of opera, theater, and film, has not been noted for restraint; yet here his directing is generally taciturn and implicative. [7 June 1999, p. 32]
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75It's warm, spontaneous and heartfelt. Zeffirelli cared about his memories, and he's done justice to them.
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75An incomplete memoir with spotty character development, but, in part because of the way it was filmed and in part because of the strength of the cast, it's still an effective entertainment.
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75Zeffirelli creates a lovely, perfectly composed and lyrical look at life under Mussolini's black-shirted fascist regime. But despite danger on every corner in Italy, there is a tinge of rose-colored sentiment that blurs the events yet lends to the making of an affecting dramatic period piece.
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70Zeffirelli has created an amusing yet touching high adventure and an unusual coming-of-age tale.
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63The movie seemed the stuff of anecdote, not drama, and as the alleged protagonist, Luca/Franco is too young much of the time to play more than a bystander's role.
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63Cher is an inspired bit of casting, while the talented Dench is underused. Smith seems to be going through the motions as the fatuous and deluded aristocrat, while Tomlin has a ball as Georgie. But what really stays with you is the work by Plowright - she is a beacon of good sense (both as actor and character) and plucky as you please.
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63The movie is so aggressively ingratiating that it's probably not to be fully trusted, yet it works suprisingly well on its own limited terms[14 May 1999, p. 8E]
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The most sentimental Italian movie about surviving the war since "Life is Beautiful."
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60Zeffirelli's mawkish tendencies are checked by Mortimer's funny, richly observant screenplay; it's rose-tinted but plays up character and everyday detail rather than wallowing in war-movie villainy.
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60The 76-year-old Zeffirelli will make many more movies, but Tea With Mussolini has the unmistakable feeling of a personal testament. Its sunny disposition and modest wit are well-suited to the genial temper of this born entertainer.
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60Once you accept the notion that Tea With Mussolini aspires to be little more than a kind of British-Italian ''Steel Magnolias,'' with a patina of World War II-movie uplift, it becomes a pleasure to watch its stars shamelessly hamming it up.
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60Maggie Smith and Judi Dench are glorious comic actresses, while Joan Plowright provides a firm, touching moral center to the film. They almost make you forget Cher's totally out-of-it work as a disapproved-of American and carry the film to its destiny, which is one of inoffensive inconsequence, prettily staged. [24 May 1999, p.88]
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60Some fine individual perfs by the tony cast, plus fine period detail and costumes, make the time pass fairly agreeably, but Tea With Mussolini suffers from a fatal lack of focus and emotional center, reducing potentially involving material to a succession of individual scenes.
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60Cher generates much of the movie's limited interest with her powerful screen presence, and Maggie Smith's skill as a diplomat's widow who believes she has a special relationship with Mussolini is undeniable. Yet the story, structured by the fragmented perspectives of too many characters, is more often lightweight than funny.
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50And while the divas make their characters hugely entertaining, they're also such high profile actresses in such a soft-edged film that it's hard to actually worry about what's to become of them.
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50The film may have its roots in reminiscence, but it doesn't feel like it comes from the heart: Zeffirelli's, as usual, is swathed in tinsel. Still, the villas on display are gorgeous, and watching those dowager martinets intimidate the Fascisti is fine sport.
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Luca's transformation from waif to budding artist may be the thrust of the film, but it's the psyche of the conflicted grandson that you wonder about.
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50These actresses are always worth seeing in just about anything, as is Tuscany. Together they are able to make up for the meandering plot and lack of dramatic oomph.
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50Watching Tea with Mussolini is probably a lot like having tea with Mussolini would be: never dull but neither, I imagine, an entirely pleasant experience.
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40While Zeffirelli couldn't have assembled a more capable cast, none of them, except Cher, are given characters colorful enough to make the film worthwhile; almost everyone gets lost amidst the Tuscan scenery.
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40Tea With Mussolini doesn't come close to John Boorman's captivating "Hope and Glory," which managed to address the terrible destructiveness and misery of the war as well as the magical adventure it offered its young protagonist.
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40Tea With Mussolini is really about the first women in the Italian director's life. It's drawn from a single chapter of his book but suffers from a lack of focus. None of these great ladies is willing to give up center stage; nor, for that matter, are the grande dames who bring them so vividly to life.
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33The film values quips and declamations over natural conversation (or an explanation of how such intelligent women could have been so blind to world events).
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30Franco Zeffirelli's contrived autobiographical film about his youth in fascist Italy has little social grace -- it's embarrassingly awkward, like a dilettante playing the doyenne.
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TonyB.8This is among the more underrated and under appreciated films in recent memory.