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This is an absolutely astonishing film, a libertarian, feminish critique of Mussolini Italy gotten past the fascist censors under the cover of War Time anti-Communism, a demonstration of Rand's melodramatic strengths before they get encumbered by her anti-altruistic, hyper-free market hysteria. Wonderfully graced by the Vali of later THIRD MAN fame in her radiant youth and Rossano Brazzi a couple of decades before his windy turn in SOUTH PACIFIC. (Comes in two, sometimes separately titled, parts.)

I haven't watched that many Italian films made prior to the neo-realist movement but I knew of this film from "Leonard Maltin's Film Guide", so I taped it when shown on late-night TV some years ago. Though it had lain in my "VHS To Watch" pile since that time, I decided to give it a whirl now as a tribute to its leading lady Alida Valli - who died only last week!

The film's history is as convoluted as that of its narrative, which is close to 3 hours in length: the story takes place in Russia and the plot (an unauthorized adaptation of the Ayn Rand novel) naturally dealt with Communism; being a wartime production (if still handsomely mounted), it was deemed to be critical of the Fascist regime and subsequently banned! Only in 1986 was the film restored to its current form - and distributed in the U.S. to considerable success - but, unfortunately, the source print wasn't perfect (with the result that the video version suffers from some distracting fuzziness, particularly towards the end)...

Despite its epic scope, the film is decidedly talky and necessarily heavy-going in nature; but the acting (featuring perhaps romantic idol Rossano Brazzi's finest performance) is terrific and, as a whole, the narrative anticipates another troubled wartime epic - Marcel Carne''s masterpiece CHILDREN OF PARADISE (1945), particularly in the way Valli is pursued by a number of suitors throughout the film but ends up alone by the end of it.

The only other film by director Goffredo Alessandrini I've watched is ABUNA MESSIAS (1939), another historical piece but - ironically enough - a propagandist one! In the end, with all the celebrated classics that have emerged from Italy along the years by any number of influential auteurs, WE THE LIVING remains - with good reason - an important film and, undeniably, one of the most impressive (if largely unsung) ever made in that country.

... it shortly ran afoul of their political advisers, being not just an argument against bolshevism but ANY variant of dictatorship, fascist as well. It's amazing that a copy survived to be discovered after the war. This is a rare treasure, for Valli's performance as well as the historical background. On top of that, this is one of the few times a book's made such a literal transition to film (due to lack of time during the war for script preparation), giving us a far more accurate indication of what the novelist Ayn Rand intended than, say, 'The Fountainhead' (1949), or certainly 'You Came Along' (1945).

This commentary is for the transformed and edited American version of the Italian film "Noi vivi" that was released in Italy in two parts - "Noi vivi" and "Addio Kira!". Unfortunately I haven't seen the Italian integral version, but even in the American version the film hasn't lost the grandeur.

"We, the living" ("Noi vivi" Part 1 & 2) - the film is alive. It hasn't dated and it can't simply be dismissed as anticommunist propaganda. "We, the living" goes beyond that. The film was made in 1942 and the action takes place in Russia (then Soviet Union) from the early 20s to the early 30s. Taking into account the historical facts mentioned in the film, the story maybe takes place between 1922 and 1930. Still the story could take place in Mussolini's Italy or any other country ruled by a dictatorship. To give a very simple definition, the film is about the fight of Man against Society, but this is a too narrow definition as "We, the living" is mainly about love, beauty and the right of each one to choose his/her own way.

Kira, a eighteen-year old girl, goes with her family from Crimea to St. Petersburg (then called Petrograd). They are white Russians (the white Russians were against the communists and they were usually of noble or middle class extraction). In St. Petersburg their life is very difficult. The communists are slowly tightening their grip. It's necessary to adapt to the new reality, but will the communists let them breathe in peace? Kira will know Leo Kovalenski (son of the admiral Kovalenski, shot by the communists), who has become an undesirable and is on the run from the reds. They fall in love, but he's in hiding, he can't be seen. It's all very difficult! In the meantime Kira gets to know Andrei, a GPU (the soviet secret police) officer. Attraction. And this attraction will grow. A love triangle and a dilemma for Kira. Each one of the main characters will face a dilemma.

In "We, the living" the cinematography, the acting and the soundtrack give the film a contemporaneous feel. "We, the living" may not have many outdoor scenes but evokes quite well the harsh Russian winters and the snowy landscape... the plight of the white Russians, the crowded streets and apartments, the disillusion that follows in the wake of every revolution... And Alida Valli, as the young Kira, is quite impressing. Fosco Giachetti, as the GPU officer deserves mention too, the acting in general is first rate. As to the film, there's no need to be afraid of the subject - there's no vulgar anticommunist propaganda (as there were so many!). "We, the living" is more multifaceted than you may think (watch it with open eyes and brain). It's a really moving and absorbing film.

Ayn Rand had great difficulty in getting her semi-autobiographical first novel published as it was regarded as anti-Communist at a time when Communism was seen as a bulwark against Fascism. Sales were minimal and the stage adaptation closed in less than a week. By the late 1950's of course the true horrors of Communism had emerged and with two successful novels to her name, one of which had been filmed by King Vidor, the second edition of 'We, the Living' became a best-seller.

Hardly surprising that its unflattering depiction of post-revolutionary Russia found favour in Mussolini's Italy. This excellent film version by Goffredo Alessandrini was a great success commercially and not surprisingly won the Volpi Cup. After a few months however it occurred to the authorities that it might also be viewed as anti-Fascist, whereupon it was withdrawn and disappeared.

Following its rediscovery and restoration it was released in the two-part version we now know but owing to poor distribution has not alas received the recognition it so richly deserves and is destined to be appreciated by a handful of cinéphiles.

Ayn Rand's narrative skills and the rich tableau of characters bear witness to her admiration for Dostoevsky and Hugo whilst as a young woman in Petrograd she and her family experienced similar hardships to those in the film. A distinct feature of her novels is that of a woman involved with more than one man and this is no exception. Kira Argounova, played by Alida Valli, is loved by both the Leo Kovalensky of Rosanno Brazzi and the Andrei Taganov of Fosco Giachetti. Kira is a tragic heroine in true Tolstoy mode and would be even more tragic in this had not the makers changed the ending! The twenty-one year old Valli with her wonderfully expressive eyes is utterly luminous here and shows the promise that she was to fulfil. Brazzi as Leo, the revolutionary who betrays his principles, turns in what is indisputably his best performance. It is however that of Giachetti that leaves the strongest impression. Usually cast as a leading man in Fascist propoganda films, he brings his powerful presence and intensity to the role of Andrei the disillusioned Party official whose character is as tragic as that of Kira. I have never alas seen the Italian version of 'The Brothers Karamazov' but can well imagine his effectiveness as Dmitri.

Expertly directed by Alessandrini, the film is enhanced by another of Renzo Rossellini's full-blooded scores whilst cinematographer Giuseppe Caracciolo has excelled in the dramatic use of close ups in which the characters fill the screen.

Already evident here are the author's uncompomising views regarding the individual versus the state. In his final speech Andrei dismisses the idea of the 'common good' and goes on to say "Every honest man lives for himself....because that's the way man is."