The Di Carlo family was persecuted by Italian Fascists in Sicily. That didn’t stop them from becoming propagandists for Mussolini.

A couple weeks ago on Mafia Genealogy, I introduced “Capitano” Angelo di Carlo. Calogero di Carlo, called “Lelio” or “Leo,” was the youngest child of the Di Carlo family, and Angelo’s business partner.

Seven brothers immigrated: Antonino (Nino), Giuseppe (Piddu), Giovanni (John), Angelo (Capitano), Francesco (Frank), Salvatore (Toto), and Calogero (Leo). Two sisters also immigrated: Marianna and Rosa. All but Angelo lived the rest of their lives in the United States, with several of the siblings settling together in Yonkers.

Their father was a butcher in Corleone, and at least two of the brothers, Nino and Toto, were butchers in the US. John owned a plastering business, and Frank worked with two of his brothers, sometimes with Toto as a butcher and other times with John as a plasterer. Lelio and his brother, Angelo, were entrepreneurs: before the war, as film importers, and after WWII, as travel agents. According to the Italian police, the brothers were suspected of international drug smuggling as early as the 1930s.

Angelo was in Sicily from 1937-39, having gone to assist their father, who died in Corleone in 1937. Angelo had a prior conviction for mafia association, and was unable to secure a visa, or even a driver’s license, under the Fascists. Despite these difficulties, Lelio says that Angelo may have helped acquire two of the first films Esperia distributed in the United States.

The Esperia Film Company was formed by Lelio in January 1939. He originally called Esperia the “Modern Film Company.” The company was called Esperia by March, when Angelo returned to New York. After two years in Italy, Angelo’s wife, Luisa, contacted a relative, a judge in Palermo, who secured visas for their return to New York. Angelo and Luisa lived with Angelo’s brother, John’s family in Yonkers. Angelo joined Esperia as a salaried employee.

According to IMDb, the films Esperia distributed were made between 1936-40, and distributed in the US between 1939-41. Other than those first two, Francesco Macaluso, Esperia’s president and general manager, selected all of the films Esperia licensed. He made a number of trips to Italy during the 1930s to obtain films for distribution. He is seen on manifests, returning to the US with his wife and two of their children in 1933, in 1936 with his adult daughter, who worked for Esperia as a bookkeeper, alone in 1937 and again in 1939. The records list Macaluso as a lawyer, until the last trip I found, in 1940, where “lawyer” is crossed out and replaced with “film merchant.”

Lelio claimed in a 1943 affidavit that all of the funds used to purchase the film licenses were his own, with some of those funds acquired from unspecified family members, and some quantity borrowed. But in 1942, when the FBI investigated Esperia, thirty percent of the stock was owned by Francesco Macaluso. The majority shareholder was Lelio, the treasurer, with sixty percent. His brother, John, owned the other ten percent.

According to the FBI, Esperia ceased operations in 1941. On 9 December, immediately after the Japanese attack on Pearl Harbor, several of the Di Carlo brothers were arrested. Angelo and Luisa were still living with John’s family. According to John’s son, Vincent, who was ten years old at the time, Angelo, Toto, Frank, and Leo were arrested, because they were not yet citizens.

John was also arrested, according to Leo’s affidavit. In fact, his letter suggests only Angelo, John, and Leo were arrested, not Toto and Frank. Angelo, Calogero (Leo), and Frank appear in a list of persons of Italian ancestry who were taken into custody during the war. Only Angelo appears in the list of those initially rounded up after the attack on Pearl Harbor, and he is also the only one interned. That Toto was also arrested, soon after his brothers, is confirmed in FBI Agent Burleson’s report from Ellis Island, the following month.

Calogero, who wrote in 1943 in an effort to have Angelo released from internment, downplayed his brother’s involvement in Esperia. Based on the contents of his affidavit, he understood the propaganda charges to be the main reason Angelo remained interned. He writes:

“My brother, Angelo di Carlo, came into the organization solely on a salary basis. He contributed no money to the company’s capital. His connection with the company was solely as a salaried employee, although he nominally held the title of Vice-President. He had no control over the bank account.”

John’s son, Vincent, who wrote a family history in 2013, and worked for his uncles as a teenager, provides a different impression of the brothers: “They were business partners but Angelo ran things and made all the major decisions.”

Though by the time of their 1943 affidavits, the Di Carlos and their supporters were careful to distance themselves from fascist governments abroad, domestic fascism enjoyed broad support in the 1930s, when Esperia began importing films. American heroes of the time included the pilot and widely known white supremacist and isolationist Charles Lindbergh, auto manufacturer and anti-Semite Henry Ford, and real life “Citizen Kane”: the yellow journalist William Randolph Hearst. “Hitler’s Mountain Home” was featured in the Hearst publication, “Better Homes and Gardens,” in 1938, the same year as Kristallnacht.

All 29 of Esperia’s 1940 releases “attempted to convince spectators that under the leadership of Mussolini Italy was a strong and mighty nation.” One feature film distributed by Esperia is described as propaganda in the book “Equivocal Subjects.” “Under the Southern Cross” (1938) (on YouTube) is seen to “naturalize” Italian occupation of Ethiopia, which began in 1898. A second Italo-Ethiopian War was fought in the years just before this film’s release. Recall that Angelo’s service to Italy, from which he derived his lifelong nickname, was in the occupation of Libya. His evident pride in his role in Italy’s colonial “Scramble for Africa” may have extended to the subject of his countrymen in Ethiopia. Angelo told FBI investigators, following his arrest, that he was not pro-Fascist, but he was still pro-Italian.

libya-location
Italy in Africa: Libya, Eritrea, Somalia, and Ethiopia (Map source: Ethiopian News)

Lelio calls Esperia “a private business venture, absolutely in no way connected with the political regime in Italy”. In their defense, Lelio notes that the films Esperia imported, were also shown in other theaters around the United States. Individual Esperia releases, reviewed in contemporary newspapers, are depicted as light entertainment, exotic dramas and comedies of variable artistic merit.

bonita-y-feas-se-casan-todas-an-esperia-film
(Image: Spanish language promotional poster for “Belle o brutte si sposan tutte” [English: Pretty or plain they all marry]. Source: IMDb)
The News Research Service, produced by Joseph Roos, describes Esperia as a propagandist specializing in short films. The typical distribution method was to screen a full-length feature along with two or three short pieces of propaganda. This article singles out two film houses in New York City, the Roma Cine Teatro at 1662 Broadway, which “flourished under the management of the notorious, one-time anarchist, Pietro Garofalo,” and the Cine Citta, at 250 W 54th St, managed by Signor Macaluso, a “widely known… Fascist agent.” The Rome Cine was one of the theaters in which Angelo di Carlo was invested.

By 1936, Francesco Macaluso had been active in American fascist leadership for almost two decades. The Di Carlo brothers were well aware of their business partner’s politics. Vincent knew Francesco personally. He visited his uncle Angelo during his internment, at two different camps. Vincent says of Macaluso: “His relationship with Angelo was strictly business. They were on opposite sides of the political spectrum. Macaluso was a hardcore Fascist. At my visit to Fort Meade I witnessed him trying to impress visiting family members of the POW with shouts of ‘Viva il Duce’ and making Nazi/Fascist salutes.” (Personal correspondence, 11 March 2016.)

italian-internees-missoula
Italian internees at Ft. Missoula (Source)

Since internees were rated on their behavior in the camps, his association with Macaluso may have harmed Angelo’s chances of being released. Luckily for them both, the war was coming to an end.

Sources

Affidavit signed by Calogero di Carlo, 28 July 1943. Released electronically by NARA on 9 March 2016 to the author.

Vincent Angelo Di Carlo. 2013. “The Di Carlo Family: From Corleone, Sicily, Italy.” Accessed http://www.dicarlofamiglia.com/uploads/3/7/3/5/37352841/dicarlo_family_05_18_2013.pdf 11 November 2015.

“Fascismo Says It With Movies.” Research Supplement Published by News Research Service, Inc. Vol. 5. No. 142. 23 April 1941.

Federal Bureau of Investigation report made at New York, NY, on 23 January 1942 by J. Burleson regarding Angelo di Carlo. File no. NY 100-17523. Released electronically by NARA on 9 March 2016 to the author.

Francesco di Legge. “L’aquila e il littorio: direttive, strutture e strumenti della propaganda fascista negli Stati Uniti d’America (1922-1941).” Accessed http://road.unimol.it/bitstream/2192/306/1/Tesi_F_DiLegge.pdf on 19 February 2017.

XIII Legislatura – Disegni di Legge e Relazioni – Documenti. Legione Territoriale Carabinieri di Palermo. Oggetto: Vito Calogero Ciancimino gia’ Sindaco della Citta’ di Palermo. Senato della Repubblica. Camera dei deputati. N. 3209/1064-2 di prot.llo. Dated Palermo, 14 April 1971. Accessed at http://legislature.camera.it/_dati/leg13/lavori/doc/xxiii/015_RS/00000008.pdf on 24 January 2016.

Feature Image: Promotional poster for “Il Sogno di Butterfly” [English: “The Dream of Butterfly”], a 1941 Esperia release (Source: IMDb)

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