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IMDbPro

Il mestiere delle armi

  • 2001
  • T
  • 1h 45min
VALUTAZIONE IMDb
6,9/10
2008
LA TUA VALUTAZIONE
Christo Jivkov in Il mestiere delle armi (2001)
DramaHistoryWar

La storia della prima vittima dell'artiglieria moderna e della sua agonia commovente, tra cospirazioni e tradimenti. Giovanni di Medici, un giovane capitano coraggioso nella guerra di Carlo ... Leggi tuttoLa storia della prima vittima dell'artiglieria moderna e della sua agonia commovente, tra cospirazioni e tradimenti. Giovanni di Medici, un giovane capitano coraggioso nella guerra di Carlo V contro il Papa, nella prima metà del 1500.La storia della prima vittima dell'artiglieria moderna e della sua agonia commovente, tra cospirazioni e tradimenti. Giovanni di Medici, un giovane capitano coraggioso nella guerra di Carlo V contro il Papa, nella prima metà del 1500.

  • Regia
    • Ermanno Olmi
  • Sceneggiatura
    • Ermanno Olmi
  • Star
    • Christo Jivkov
    • Sergio Grammatico
    • Dimitar Rachkov
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,9/10
    2008
    LA TUA VALUTAZIONE
    • Regia
      • Ermanno Olmi
    • Sceneggiatura
      • Ermanno Olmi
    • Star
      • Christo Jivkov
      • Sergio Grammatico
      • Dimitar Rachkov
    • 11Recensioni degli utenti
    • 8Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 21 vittorie e 8 candidature totali

    Foto18

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    Interpreti principali38

    Modifica
    Christo Jivkov
    Christo Jivkov
    • Giovanni de Medici dalle Bande Nere
    Sergio Grammatico
    • Federico Gonzaga
    Dimitar Rachkov
    • Luc'Antonio Cuppano
    • (as Dimitar Ratchkov)
    Fabio Giubbani
    • Matteo Cusastro
    Sasa Vulicevic
    • Pietro Aretino
    Dessy Tenekedjieva
    Dessy Tenekedjieva
    • Maria Salviati de Medici
    • (as Desislava Tenekedjieva)
    Sandra Ceccarelli
    Sandra Ceccarelli
    • Nobildonna di Mantova
    Franco Andreani
    • Ambasciatore di Carlo V
    Kalin Arsov
    Kalin Arsov
    • Barcarolo
    Giancarlo Belelli
    • Alfonso d'Este
    Bruno Bendoni
    • Benedetto Agnello
    Silvio Cappellini
    • Maestro Habram
    Vittorio Corcelli
    • Frate domenicano
    Marco De Biagi
    • Ercole d'Este
    Alessandro Genovesi
    • Ufficiale posto di guardia
    Michael Lindner
    • Sottufficiale alemanno
    Francesca Lonardelli
    • Cortigiana
    Paolo Magagna
    • Francesco Maria della Rovere
    • Regia
      • Ermanno Olmi
    • Sceneggiatura
      • Ermanno Olmi
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti11

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    Recensioni in evidenza

    10Viator Veritatis

    Magnificent production from Ermanno Olmi

    This is an absolute must for anybody interested in Olmi's work or in the Italian Renaissance. One of the best Italian productions in years.

    As usual, Olmi concentrates on the grey landscapes of his native Padana plains, engulfed in a swirling fog dominating the human figures which move through it, in an atmosphere of timeless melancholiness. As in its masterpiece, "L'albero degli zoccoli", Olmi successfully tries to paint a picture of the characters' feelings and strivings through the pitfalls of a difficult existence, devoid of any intrinsec meaning.

    Do not misunderstand me - this is none of the pacifist crap fashionable amongst trendy critics and intellectuals. Neither it is a convoluted attempt to convey "profound" sociological or psychoanalytical concepts. That's why it didn't win the prize it deserved at Cannes. The film is rather an attempt to represent the reality of human loneliness and meaninglessness within a particular historical setting: that of a time when soldiery was still a "mestiere", a job, a professional choice devoid of the religious overtones which national myths have impressed on it in later times.

    The Generals of both armies are no heroes, but rather human beings endowed with very human needs - Giovanni writes his loving wife to send him underpants, and his far less loving uncle, the Pope, to send him some money to pay his men. These are poor and humiliated men, fighting in the pope's behalf, and receiving blessings (instead of money) in exchange. Their one solace through religion consists in the act of burning churches and crosses to warm themselves a little - "That's the Christ of us poor people, he will help us", they say finding a huge wooden crucifix, and the face of the Christ being burnt is a testimony to their grieves. But the leader of the German Landsknechten, famous von Freundsberg, is also an old man who, for all his vain ferocity, is forced to go back to Germany after his victory because of his old age and illnesses.

    The peasants fleeing through the fog, or hung by the German troopers, are wistful - more than tragic - elements of an unmoving landscape, mute testimony to the eternal cycles of war, of suffering, of pathetic strives to win victories that will be forgotten one day or week or month later, as new puppets will "strut and fret their hours upon the stage, and then will be heard no more" (from the famous monologue of Macbeth).

    A masterpiece from Ermanno Olmi. A film worth seeing wherever you live.
    10Asa_Nisi_Masa2

    Olmi gets under the skin of the Renaissance and brings it to life for us

    Giovanni Dé Medici was the ultimate Renaissance "condottiere" (military commander), Captain of the Pope's Army, dubbed "Giovanni of the Black Bands". He was truly fierce, ruthless and proud, but relentlessly audacious on the battlefield. Yet he was also aristocratic, charming, articulate, witty, urbane, and a libertine off the battlefield. Furthermore, as a soldier he was the antithesis of a Machiavellian, and rejected the idea that war was a politician's game. Giovanni Dè Medici may have been cruel, but no one could accuse him of cowardice. In the end, dying from a gun-shot wound at the youthful age of 28, he was also a victim of a very different, new and subtler form of warfare. Olmi's amazing, award-winning movie is set in the last few weeks of the life of Giovanni "dalle Bande Nere", played very convincingly by Bulgarian actor Hristo Jivkov. The movie also features other notable historic figures of the Renaissance, such as Pietro Aretino (the ultimate Renaissance man of letters) and the German army veteran Georg von Frundsberg. As one critic put it, it isn't so much a historic movie, as an "intimate confession from the most visceral folds of history".

    The story starts from the end, with Giovanni Dè Medici's funeral. It then goes back to the cause of his death, dating a few months earlier, in the autumn of 1526, when the Imperial Army of German Lutheran soldiers led by von Frundsberg are travelling through Italy from the North. The narrating Pietro Aretino informs us that these "noble and beautiful people" are on their way to invade and punish Rome, following an act of betrayal on the Pope's part. Aware that the Germans are at a military disadvantage, Dè Medici uses quick, sudden ambushes with his fire-armed cavalry. But as an act of ultimate individualism, the Marquis of Mantua, Federico Gonzaga welcomes the Lutheran troops through his fortified gates at Curtatone. He thus allows them easy access to the papal states in order to save his own territory. Meanwhile, just a few hours later, Federico Gonzaga denies access to Giovanni and his Papal troops! This beautifully illustrates the way that the notion of national solidarity simply did not exist among different Italian Duchies and kingdoms.

    To add insult to injury, Alfonso D'Este, Duke of Ferrara gives some sophisticated pieces of artillery to the Germans in exchange for von Frundsberg's daughter's hand. Yet Giovanni still manages to catch up with the Germans, despite the fact they are now no longer militarily at such a disadvantage. Meanwhile, the young Medici Captain keeps asking the Pope for additional troops through his wife Maria, who mediates. But all that the Pontiff is willing to do is send the leader of his army his blessings!

    Familiar Olmi themes surface. While Olmi's magnificent movie Il Posto (1961) was about human beings as insignificant clogs in the faceless machine of a typical corporation, Il Mestiere is about man's vain individual efforts within the "faceless machine" that is history and fate. But even while being aware that he will probably be defeated, Giovanni's determination to stop the Germans survives. Ultimately, his philosophy is the opposite of a Machiavellian one: actions, even when completely useless, are still important for what they stand for. When Giovanni is shot in the leg in a final skirmish with the Germans, he is taken to the D'Este Palace in Ferrara to have his leg dressed and then later amputated. The final scenes of Giovanni lying in his sick chamber are cinematically flawless, spectacular and subtle. For the first time in his life, he is truly helpless, often in a fevered state, languishing in those magnificently frescoed interiors painted in the style of High Renaissance art. The concept of human beings always dying alone - even when they die young and are supervised by servants and medics - is poignantly conveyed.

    Rather than being chockful of the spectacular battle scenes we have come to expect from lavish historical movies, Il Mestiere is mostly a meditative and quiet war movie. Olmi's flick is outstanding at bringing across the nitty gritty of life as a Renaissance soldier. Hypnotic images of ghostly soldiers on horseback and on foot, trudging through the mist, or tending to their weapons daily, also gives a tangible sense of what happened "in between" those battle, which took up maybe only about 10% of a soldier's time. The grim, damp, relentlessly cold weather, the extreme discomfort of constantly wearing an armour and the way that battles were often sudden, fast and deadly is perfectly conveyed by Olmi's movie. Which isn't to say there are no beautifully filmed, and spectacular battle scenes in Il Mestiere…

    Other scenes, such as those of Renaissance aristocrats at social gatherings and at court, really create the impression you're watching an animated Italian Renaissance painting. The language spoken by the characters in this movie is achingly beautiful, but none of the lines are delivered in a contrived or actory manner - you just simply get the impression that Renaissance aristocrats spoke in such a sublimely articulate and poetic way. Giovanni's wife Maria (not Caterina Dè Medici, as listed by the IMDb!) is shown all the way through the movie reading and replying to her spouse's letters. They contain things as mundane as his detailed laundry lists, alongside crucial requests for political mediation. These were requests that every high-born Renaissance wife should have had the intelligence and sophisticated diplomatic ability to carry out. Meanwhile, Giovanni's mistress, a married Mantuan lady, is sympathetically shown living her clandestine purgatory. Last but not least, the movie has a lovely, evocative score.

    The film's final quote regarding fire-arms could be lifted exactly as it is and be applied to our very own "weapons of mass destruction" - a bitter, disheartening paradox. I don't think this is a movie for everyone, but those who believe they might appreciate it are really in for a treat.
    10EdgarST

    Masterpiece

    In a single word - capolavoro ("masterpiece" in English). I saw a masterpiece tonight. Maestro Ermanno Olmi's 2001 film «Il mestiere delle armi.» We all praise Rossellini, Fellini, Antonioni, Risi, Pasolini, Visconti, Leone, De Sica, Scola, Rosi, Wertmüller, Bellocchio, or the Taviani brothers, but we often forget Olmi. I have only seen four titles of his extensive filmography, and they were satisfying experiences: the diptych about the working class, «Il posto» and «I fidanzati,» his film «Il arbero degli zoccholi» which won the Palme d'Or at the Cannes Film Festival, and now this wonderful film.

    «Il mestiere delle armi» recounts the final days of Giovanni de' Medici (1498-1526), during his final campaign as captain of the Pope's army, against the German hordes approaching Rome to capture and sack it. Giovanni died at the age of 28, one of the first victims of modern artillery. In the film, he is played by Bulgarian actor Christo Jivkov, who, curiously, died at the age of 48 in 2023.

    The story moves at a steady pace, marked by the protagonist's imminent death, which is announced from the first minutes. The film describes the intrigues among the various Italian nobles in the face of the advancing invaders, Giovanni's passionate love for a married woman, and the clashes between armies, with brilliant attention to weapons, armors, costumes, music, lighting (excellent photography by Fabio Olmi, the director's son), and 16th-century medical instruments.

    The film won nine David di Donatello Awards (the Italian film industry's highest accolade) for best production in 2001: best film, director, screenwriter (Olmi), producer, director of photography, editor, musician, art director, and costume designer. A complete cinematic experience, which I recommend.
    7silviopellerani

    A very cult movie back to the old Olmi's films

    If you are looking for a relaxing and commercial film don't see this one. In my case it took me 20 minutes to get deeply involved in the plot and the film atmosphere. Is a nice biographic story of an arm maker in the Italian middle age. The countryside (shot in Romania and Bulgaria) is giantly underlined by Ermanno Olmi's hand and all the characters were completely well represented by the actors.

    Either you like the plot or not but certainly you will notice the direction of still one of the MOST important Italian directors nowadays.

    Rating: 7/10
    Mozjoukine

    Imposing historical re-enactment.

    This is, in many ways, the most complicated and mature film Ermano Olmi has made and it's austerity and marginalizing narrative against setting and period make it hard to come to terms with. It resembles the Rosselini historical biographies, with action often played in wide shot like traditional gallery art but here the film making and performance are far more skillful and effective.

    Gradually we do come to recognize the head of the Papal forces trying to ride down the German invaders, intent on looting Rome, despite the shaky loyalty of his mercenary troops (Machiavelli is evoked as a military commentator) and the lack of support from local rulers. We even know about his social life and his laundry lists.

    The use of historic buildings and detailed costumes (burnished armor for night fighting) is a tradition which goes back as far as the WWI Italian cinema. Profession Of Arms is one of it's best outings and the military material is particularly imposing - the spear-men making a dangerous looking fog silhouette spike barrier that the cavalry charge, the foundry men producing artillery and the constant drawing of those long swords.

    The sting is in the tail with the narrator telling us that after the calamity of Commander de Medici, the sixteenth century rulers declared that that weapon of mass destruction, the cannon, would be forever banned. It does make it's point.

    Annonuti does voice over.

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    Trama

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    • Quiz
      Based on the life of Italian military leader Giovanni Ludovico de' Medici (1498-1526), nicknamed Giovanni delle Bande Nere ("of the Black Bands"). The Black Bands were the elite companies he created; the name comes from their insignia, originally white and purple but blackened after the death of Pope Leone X.
    • Citazioni

      Narrator: [in the beggining of the movie] Who created these horrible weapons? From there, the war and carnage started And the way to a cruel death was open. However, don't blame this miserable. We're the ones who don't know how to use what he gave us. To defend ourself from the wild animals.

    • Connessioni
      Featured in De caballos y guitarras (2024)

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    Dettagli

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    • Data di uscita
      • 11 maggio 2001 (Italia)
    • Paesi di origine
      • Italia
      • Francia
      • Germania
      • Bulgaria
    • Lingua
      • Italiano
    • Celebre anche come
      • Il generale nero
    • Luoghi delle riprese
      • Dubovan, Pleven, Bulgaria
    • Aziende produttrici
      • Cinemaundici
      • Rai Cinema
      • StudioCanal
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Lordo in tutto il mondo
      • 55.926 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 45 minuti
    • Colore
      • Color
    • Mix di suoni
      • Dolby Digital
    • Proporzioni
      • 1.85 : 1

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