Meet the Manzonis... a.k.a. the Blakes
After an ex-mob boss snitches on his former cohorts, he and his firecracker wife, their all-
American daughter and wanna-be wiseguy son are all forced to relocate to a picturesque village in
Normandy where they bring new meaning to the phrase "crime family" in Luc Besson's subversively
funny new film, The Family. The critically acclaimed French director takes audiences on an
unexpectedly hilarious journey as Giovanni Manzoni, played by Robert De Niro, and his close-knit
clan must resort to their old habits in order to navigate life in small town France while staying one
step ahead of assassins dispatched by his now incarcerated former colleagues.
"Giovanni, now known as Fred Blake, has attempted to start over in different places, first
the U.S., then Paris and the South of France," explains Besson. "None of those places have worked
out for him, mostly because he and his family can't resist their old ways of dealing with problems.
Now they find themselves in the tiniest French village you can imagine, where they think nothing
ever happens. But they're wrong. That's exactly when things really start to happen."
"Much of the humor comes from the misunderstandings between the Blake family and their
new neighbors," says Besson. "There's a good deal of confrontation between the family and the
local people in Normandy. In the French countryside, if you need a plumber, you have to wait about
two years. These guys are kings of the world. If you're unpleasant with them, you'll wait four years.
Whoever it is, the local priest, the grocery store owner or the plumber in this little village, they are all
trying to take a little advantage of the Americans, thinking they must have money. But they don't
know who they're dealing with. You can't do that to Giovanni Manzoni -- or Fred Blake. If you try
to cheat him, he's going to kill you."
The filmmakers have fun at the expense of both the French and American characters,
playing off their native idiosyncrasies to great comic effect. "We are not making fun of any one
culture, the Americans or the French," says Besson. "We tried to make fun of everybody. I know the
locals in that kind of small, country town far from Paris. I was raised in a place like that. I also lived
in New York and Los Angeles, so I know many Americans and their foibles. It was exciting and
amusing for me to put them together in a small village and watch what happens."
For producer Virginie Besson-Silla, the story offered a new, highly entertaining twist on a
classic genre. "We've all seen those Mafia movies where people are forced to start a new life," she
says. "I wanted to explore what happens to people who have to go undercover. These characters
end up in a small village in France where they are totally like fish out of water. It was a lot of fun to
see how they responded to the French habits and really entertaining to watch them try to adjust."
Besson and co-screenwriter Michael Caleo adapted The Family from Tonino Benacquista's
comedic action novel Malavita. To start the story, Benacquista posed the general question: "Can a
man who lived for and through violence ever go straight, lay low and have a 'normal' life?" the
author asks. "I did some research into the real Witness Security Program, but my novel is first and
foremost a comedy about an ex-mob boss who has to deal with difficult everyday situations. I
thought the contrast could be even more interesting if the character had to live abroad in an
unfamiliar environment. He's facing two tough challenges at once: learning to live like anyone else
while also adjusting to the customs of a country that often puzzles him."
The author added to that the responsibilities and frustrations of family life. "All the family
members have to live in hiding, in exile and in guilt," he says. "That makes the story about the
family, and even though it's not an ordinary family, the characters have to face challenges that any
parent or child in the world face. When the Manzonis land in Normandy, they seem like aliens and
they have to stick together. The most important thing becomes the affection they have for each
Benacquista says he chose to give the film rights to Besson because of his longtime respect
for the filmmaker's work. "I remember watching his 1983 film, The Last Battle, in a local theater and
feeling that I had discovered a true filmmaker of my generation," the writer recalls. "It was a
wonderful combination of poetry and violence, in spite of the limited budget. Later on, after I had
seen his action movies, I thought this movie couldn't exist without that element and Luc is a real
master of the genre, as well as being amazing with actors and fluent in English."
In writing the screenplay, Besson made very few changes in the narrative. "We added some
additional dialogue here and there to make the adaptation more cinematic, and established stronger
bonds between the family" he says. "But as far as structure and characters, everything was already
Besson had not originally planned to direct the film, but as the script began to coalesce and
the actors, including Robert De Niro, Tommy Lee Jones and Michelle Pfeiffer, signed on, he began
to question that decision. "We established a list of potential directors, but as time went on, we
had this fantastic cast and I didn't want to give this film to anyone else," he says. "Robert [De Niro]
didn't say anything until the moment when the fruit was ready to fall, and then he said, 'Luc, why
don't you do the film?' How could I turn down such a film?"
The Family is a clever and loving homage to the mobster movie genre and it seems fitting
that its pedigree includes an executive producer who has put an indelible stamp on the
genre. Academy Award-winner Martin Scorsese lent his imprimatur to a film featuring characters
that fit quite naturally into his gallery of deadly crime lords and amiable thugs.
Scorsese's support was enormously gratifying to Besson. "I'm a huge, huge fan of Scorsese,
Coppola and all those guys," says Besson. "I grew up on The Godfather, Scarface and Goodfellas. When
we first thought of casting Robert De Niro, we decided to ask Martin Scorsese if he wanted to join
us, because this is in part a tribute to him. We even mention him in the film. So we sent him the
script, he read it and he laughed so much that he said 'I'm with you, I'm with you, I'm with you!' It
was cool and it made perfect sense, too. It was an honor to work with Martin."
Luc Besson recalls that upon reading Malavita, he immediately envisioned legendary actor
Robert De Niro in the role of Giovanni Manzoni (aka Fred Blake). But before mentioning his idea
to Benacquista, he asked the writer who he thought should play the role. "He said he had
always dreamed of casting De Niro," says Besson. "I had known Robert for years, so we sent him
the book, which he found very funny. As I worked on the script, I sent that as well and he said he
would come aboard."
Benacquista was thrilled to learn that his first choice to play the part was not only available,
but enthusiastic about the film. "When you are in your study imagining a scene, you don't assume
that one day that particular line will be performed by actors like this," he says. "Without Luc, I
know this part of the dream could never have materialized."
De Niro says he was attracted to the film's humor and original point of view. "It's an
unusual take on the mobster genre with a novel storyline," he says. "My character was a crime boss
in New York, but he turned in his whole crew. When he entered the Witness Protection Program
with his family, they were sent to France, but every place they have been resettled, they end up
in hot water. Now they are in the middle of nowhere and it might as well be Mars. The situation can
seem a bit surreal, but the character is very real and relatable."
Always attuned to small points of authenticity, De Niro researched life in the Federal
Witness Security Program, or WITSEC, prior to the shoot to see if an ex-crime boss from the East
Coast might really end up in a small French village. "I learned that this situation could exist,
especially if it were politically oriented in some way."
He also asked an expert to weigh in on life in the mob. "When we started really dealing with
the story, there were some little things that I felt weren't entirely accurate about Fred's world," says
De Niro. "Tonino was the first to admit he had to make things up here and there."
De Niro made a phone call to an author and journalist friend who has written extensively
about organized crime. He spent a few hours speaking with De Niro and Besson to provide
additional authentic insights into for Fred's previous life which served as an invaluable source of
A key turning point in the film comes when Fred shocks his FBI handlers -- and surprises
even himself -- with his plan to write a memoir that will set the record straight about exactly how he
lived his life -- and which could have disastrous results if it ever got out. "I think when you get older,
if you feel you've done something unusual, good or bad, you want to tell your side of the story," says
De Niro. "That's what motivates Fred. He wants to express his own take on this world and why he
did what he did. He is in a sense trying to redeem himself. He wants to document how things went
down and justify his decisions so he will have some peace of mind."
Fred also begins telling locals that he is working on a book about the Allied landing in
Normandy during World War II. As an American writer, he is asked to speak at the local film club,
which is screening, of all things, Goodfellas, a sly nod on Besson's part to both De Niro and
Scorsese's involvement in The Family. The audience's enthusiasm for the movie inspires the ex-
gangster to share a few stories of his own. "And he likes the attention," says De Niro. "Finally, he's
getting validation for all the things he's done, not by people of his secret world, but by the larger
While on the set, De Niro had to adapt to Besson's trademark breakneck pace of shooting, a
quality he found energizing. "Luc works very fast. He has it all in his head when he comes to the set
and he's behind the camera, so he's completely in control. He's got the whole canvas in his head. I
like the way he works a lot -- there's no wasting of time. It's important for spontaneity."
The director says he was a bit in awe of working with the Oscar
winner. "I mean, I
saw Mean Streets and Taxi Driver when I was 15," says Besson. "But at the same time, I just had to
roll up my sleeves and get to work. What's the point of having Robert De Niro if you do nothing
special with him? We worked hard. He'd be asking me questions all the time, calling me on the
phone, and that was fine by me. He can wake me up any time."
With an iconic actor of De Niro's stature on board, casting the rest of the roles was easy,
according to Besson-Silla. "Michelle Pfeiffer was Luc's first choice to play Maggie. She agreed to do the film very quickly because the story is so appealing and so was the idea of working with Luc and
Although De Niro and Pfeiffer both starred in the films Stardust and New Year's Eve, they had
never actually appeared in a scene together. Still, De Niro says he felt very comfortable working
with her. "I figured it was a good match for us," he says. "I'm very happy that Michelle was available
and wanted to do this."
Pfeiffer came in to meet with Besson full of ideas on how to make the character richer and
more rounded. "Michelle is very focused," says the director. "Pairing her with an actor of the caliber
of Robert De Niro brought out the best in each of them. They had not shot together before, so they
really wanted to show each other that they could be counted on. It was just a pleasure for
me, because they respect each other so much. They're great team players."
Pfeiffer says she came to the set looking forward to working with De Niro and was not
disappointed. "He's such an icon," she says. "There are maybe five actors that have godlike status
for me, and he's one of them. He is very humble, very quiet and collaborative, and he has a generous
spirit. I really enjoyed being on the set with him and with Luc Besson."
The actress, who starred in Jonathan Demme's 1988 Mafia comedy Married to
the Mob, admits she has a fondness for playing gangster's wives, but the real attraction for her was
the Manzoni-Blake family dynamic. "They take a genre that I love in a new direction. This is really
about how they interact with each other and the outside world, which is a great source of humor in
the film. They are their own worst enemies and impossible to protect because they just can't
behave. It's really about the family connection and that overrules all, no matter the circumstances."
Maggie is the bedrock of the family, according to Pfeiffer. "She does have a temper, but she
always hits the ground running and tries to make the best of the situation to keep her family's spirits
up. She has accepted that this is now their way of life, but she still has some issues and her rage has
got to come out somewhere. She's humiliated by the whole experience, especially the anti-American
sentiment that they keep encountering in France. She tries to fit in, to do good and to respect the
culture that she's in, but she feels she is being treated unfairly."
Pfeiffer enjoyed working on Besson's warp-speed schedule, even though it was occasionally
challenging. "I like that," says Pfeiffer. "You constantly have to be on your toes. At the same time, it
lends a really good energy to the film. Luc is constantly thinking, which I love. He's
collaborative, but I knew that my ideas had to be very well thought out, because he doesn't waste
time on debating anything that he thinks won't work."
Tommy Lee Jones and Luc Besson have been friends for years, collaborating on two films,
2005's The Three Burials of Melquiades Estrada and the upcoming The Homesman, as director and
producer respectively. "Don't try and mess with Tommy or he'll kill you!" jokes Besson. "He
watches everything with those big, piercing eyes, but he's also listening to what you're saying. If what
you're saying is true and he understands you, he says, 'yes, fine, no problem.' He doesn't like to
waste time; he's efficient, and I like that, so I never have any problems with him. After
producing two films that he directed, I know he's a brilliant guy."
Jones says he did this film because of his high regard for Besson, but the fact that it was
shooting in France didn't hurt. "I had a wonderful time in France. I worked in Normandy on the
sound mix of a movie I directed and I'm always very happy there. Also, I'd never worked with Bob
De Niro before and that was something I simply couldn't resist. I've admired his whole body of
work since he first started. The entire process was exhilarating. He's always well-prepared, always
original and doesn't attract unnecessary attention to himself."
Jones says he and Besson have a similar approach to filmmaking, which makes the process
easy for him. "He's a very smooth director. Some cinematographers and some directors enjoy the
ritual of saying 'Lights! Camera! Action!' That can be a distraction. Luc doesn't bother with that at
all. He just says, 'Okay. Go.' I appreciate that. There's no wasted energy or time. He lights very
quickly, and he lights very well with a lot of natural light. He doesn't make a big production out of
The actor was also attracted by the fact that the script shined a new light on a familiar genre.
"A family of Mafia people has been put into witness protection in France. Both the drama and
comedy of the story come from their attempts to fit into French society. My character, Agent
Stansfield, is the FBI agent who monitors them. He's a watchdog of sorts and tries to help them
avoid exposure. I have played law enforcement officers before, but I always look for ways to make
the roles unique. I'm more concerned with each movie as an individual enterprise, rather than doing
the same thing over and over again."
Sharing the screen with these veteran players are two exciting up-and-comers;
Dianna Agron, best known for her work as cheerleader Quinn Fabray on the hit television show
"Glee," and John D'Leo, who has played small parts in such prestigious films as The Wrestler
and Brooklyn's Finest.
"Dianna and John were amazing," says Pfeiffer. "They started before the rest of us did, so
they were really up to speed when we came on. Because Luc works fast and doesn't spend a lot of time coddling actors, they had to be very grown up and sophisticated. They're also just fun to be
around. I had a great time working with them both."
Besson's daughter is a fan of "Glee," so she urged her father to meet with Agron for the role
of Belle Blake. "Dianna happened to be in Paris, so we had a cup of tea and a three-minute meeting
that convinced me she would be perfect in the part," says the director. "She had the right voice and
attitude, and she's very smart."
Agron seized the opportunity to work with a group of professionals that she respects and
looks up to as filmmakers and performers. "Luc Besson is somebody I've always admired, so that
was a huge draw," she says. "Then add to that Robert De Niro, Tommy Lee Jones and Michelle
Pfeiffer -- I'd heard of them once or twice. Being able to learn from these people made me pursue
this project as hard as I could."
The actress was also excited to play a character facing a classic fish out of water dilemma. "I
knew that being in this provincial town in France and having such different examples of
normalcy would be a lot of fun to tackle," says Agron. "As I was reading it, I could see it all playing
out in my head. I also liked that there's the thriller element throughout, and that the subject matter is
unique. You don't often see families in Witness Protection Programs."
An average American teenager in many ways, Belle is struggling with issues of identity and
belonging that are made worse by her exile from everything familiar to her. "She wants to fall in
love, she dreams of discovering herself in a faraway land. She's very mature, steadfast and observant
at times, and a daydreamer at others. There is a scene around the dinner table, where
I've just consummated my first love, and I was looking out the window completely spaced out
and I forgot my lines! Luc told me that I was really Belle at the moment."
Belle's attachment to her family runs deep, says the actress. "She's very proud of her father.
She loves both of her parents, but her father is even more of a role model to her than her mother.
There's a moment when he expresses his guilt for the way things have turned out, and she refuses
to accept his apology, because to her, he's everything."
While Agron was a shoo-in for the part after her first meeting with Besson, finding the right
young actor to play Warren was trickier. "We set up auditions with several great young actors,"
says Besson. "John D'Leo wanted the part so badly and he turned out to be a great actor. He is
brilliant in the film."
D'Leo read the entire script in a single sitting and became determined to get the role.
"They're not like an average family," he says. "They can't even fight with each other like a normal family does. It's key that they stick together because there are people trying to kill them,
so family has to be the most important thing."
He recognized how much his character wants to be like his father, even though Fred is the
source of their present situation. "But Warren doesn't blame him for that. His dad is a role model
for him. He wants to advance beyond his father and to repair the damage that has been done to the
family name. Warren is a very independent character. Like Belle, he does a lot of stuff on his own
without his parents knowing. But he's barely 14, and most of the time, he's scared deep down."
Working with a cast of Hollywood heavyweights was an unforgettable experience, says
D'Leo. "Off set, everyone was really nice and very relaxed. When we were working, they were still
really nice, but also very professional and focused on the work. For me, it was a great to be able to
draw on all that experience and just let loose as an actor. I've learned so much that I'd need to
write two books to explain it all."
Agron says that she and D'Leo developed a sibling-like relationship on set, starting with their
first meeting. "I met him while we were doing makeup tests and he asked if I was hair or makeup. I
said to him 'I'm your sister!' and he turned bright red! That automatically gave us something to joke
about, and I teased him about it constantly."
Rounding out the cast of displaced Americans are Domenick Lombardozzi and Jimmy
Palumbo, who play a pair of G-men stuck in the French boondocks while trying to babysit the
resistant Blake family. "Domenick and Jimmy have just a few scenes, but they were on set all the
time," says Besson. "They are the funniest guys you could possibly meet. They became the two
mascots of the film and really good friends of mine."
"The storyline was really tight," says Lombardozzi, known to fans of "The Wire" as
Sgt. Thomas "Herc" Hauk. "I love how the comedy is sprinkled out through the whole thing. The
balance between drama and comedy is really effective. Even though you have someone 3,000 miles
away from home in Witness Protection, I just loved how it wasn't all that serious."
Over time, these agents have become Maggie's best friends. She confides in them, brings
them home-cooked meals and plies them for information. "They've become like family for her,"
says Pfeiffer. "People look for friendships where you can be completely yourself and those are few
and far between. These two guys know her darkest, dirtiest secrets, and they accept her."
The three characters have bonded over the fact that none of them really wants be there.
"We're away from our families," says Lombardozzi, whose character is known as Mimmo. "We do
not particularly like the guy we're guarding. After all, he did kill a lot of people. But we have a connection with Maggie, and that's pretty much what keeps us going. It's a give-and-take
relationship. It serves a purpose for both sides. When she's with us, she can let her hair down and be
"We tried not to take the characters too seriously," says Palumbo, who
plays DiCicco. "They're not top-notch agents. It was more about playing a character who thinks he's
a great agent."
Lombardozzi says he and Palumbo always kept Besson's initial advice to them on set in
mind. "He said, 'I'm very easy to work with, but when I say we're shooting at noon, I want to be
yelling action at noon.' Once we got on set, we'd be shooting within a minute or two. That's very
good because it keeps the energy up."
The Family was filmed on location in Normandy, France, as well as on the soundstage
of Besson's La Cite du Cinema, a state-of-the-art studio complex on the outskirts of Paris.
"We loved the idea of setting a classic American mob movie in France," says Besson-Silla. "It was
fun to do for all of us, especially after The Lady, which is a political film set in Burma. We wanted to
try something totally different. I think there is something very special about France that foreigners
love. Everybody is happy to come to film in France, perhaps mostly because of the food."
The filmmakers located a tiny, untouched village with a suitable house to hide the Blake
family in an unexpected location. "Coincidentally, it was just five miles from our home," the director
says. "We found many of our locations within a 15-mile radius, so every day we all drove a few miles
in a given direction to the set. It was during the summer and it didn't even feel like we were
working. It was more like we were just a bunch of goof-offs having fun in Normandy."
Their intimate familiarity with the region made location scouting a fairly easy process, says
Besson-Silla. "We found the house for the family in a funny way. My daughter was sick at Christmas
time and the only doctor available was in a tiny little town that I had never been to. When I got
there, I realized it was the perfect place to do a film, so when The Family came up and Luc was
looking for a house, I took him to that little village and that's where we shot."
The director and the producer opened the doors of their country estate to the cast, creating a
cozy and familiar atmosphere while filming in Normandy. "One of the best moments for me was
having all these Americans in the countryside, with nothing around," she says. "We had all the main
cast members of course, as well as actors with supporting roles like Dominick Lombardozzi, Jimmy
Palumbo and Vinny Pastore. To have them come and spend some time in Normandy together was
Working in Normandy was a pleasure for the actors. "It's very beautiful," says
Agron. "And there were no paparazzi, which helped make it a wonderful environment to work
in. There's a little restaurant that we went to every night together. We just told stories and got to
know each other like family. It was idyllic."
"I'll always remember that restaurant," says Palumbo. "There are only six tables and Tommy
Lee Jones sat at our table six nights in a row, while Robert De Niro and Michelle Pfeiffer were
having dinner next to us! One evening, Harvey Keitel came in. It was magic."
It was Pfeiffer's first experience working with a French director. "The feeling on set was
distinctly European," she says. "It was more streamlined than a typical, huge American production.
We had perhaps half as many crewmembers as I normally see on a movie set, all working at
breakneck speed to get the job done."
In Paris, Besson shot his film at La Cite du Cinema, a flagship facility located a few miles to
the north of central Paris that is designed to facilitate filmmaking from screenwriting through post-
production and distribution. A longtime passion project for Besson, the studio has 650,000 square
feet of resources dedicated to dressing rooms, editing suites, paint and carpentry workshops, camera
and lighting shops and screening and reception rooms, making it the largest location of its kind in
The Family is the first film Besson and Besson-Silla have shot at the new facility. "It's a
dream come true to see those big studios finally open after almost ten years of planning and
building," says Besson-Silla. "And to have three legendary actors come over and shoot here with
us was quite amazing."
As he considers sharing his latest film with an audience, Besson reflects on the way each of
the films he has made in his more than 30-year career has been a unique experience for him. "I
started in the movie business when I was 17 years old and I still never know why someone will come
and watch a film," he says. "I was once in Korea and a 17-year-old boy with a pink Mohawk came
up and said to me very seriously, 'My favorite film is Subway.' I said, 'You were not even born when
it was made!' If you had told me 30 years ago that one day a Korean kid with pink hair would watch
my film, I would never have believed you.
"For me, the pleasure is just to make the film and hope that the audience will enjoy
it," Besson continues. "We want it to be fun, first of all. Even though the situation is quite serious,
it's still a comedy, so it was essential to find the right balance. The best way not to look pretentious is to shoot with humor. All the characters are very serious about what they do, but we're smiling all
the time because they're just nuts."
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