
If you had not guessed, Ferrara is Italian. He was also a resident of Little Italy. In fact, many of the nabe’s old school residents turn up in his early films. In Mulberry, Ferrara turns the camera on himself and his neighbors as they gear up for the annual Feast of San Gennaro. Of course, it is not like it used to be the old-timers tell us. They blame Giuliani for booting out the mob and the after-hours gambling. Reform is a drag.
Watching Ferrara kvetch and reminisce about his first film (a grungy porno that ironically was probably his most widely distributed) would be enjoyable television, but as a feature film, it is a bit thin. Still, Ferrara’s cronies like Butchie the Hat certainly have their charm. The frequent impromptu business confabs with Ferrara and his manager (and frequent co-star) Frankie Cee also go a long way toward explaining why so many of his films have such spotty distribution. Yet, that same eccentric Ferrara is evidently able to talk his way onto Danny Aiello’s label with only a brief cell phone introduction from the clearly bemused actor-singer.
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Obviously, Ferrara is wired a bit differently. Given his peerless indie cred, the IFC Channel ought to have their cameras follow him around the festival circuit. Frankly, Mulberry should be the pilot, not a theatrical documentary. Surely entertaining for his friends, but nothing resembling a breakout-comeback-whatever, Mulberry screens during AFA’s 21st Century Ferrara retrospective January 8th, 9th, 12th, 15th, and 16th.