Vincere

I found this movie extremely absorbing, from beginning to end. It's true what other critics have observed that the real Mussolini in the old newsreels looks quite different from the actor personifying him, and the sudden confrontations between one and the other are quite unsettling.

Could it be that recreating this historical newsreels with this actor as Mussolini was not possible due to the insufficient budget? Or maybe the director wanted to show us the real Mussolini to give us a good idea about the individual? Another confusing issue: The actor playing Mussolini also plays his adult son.

And we don't get to see the final days of this dictator, when he was involved with Clara (Claretta) Petacci, his last lover, twenty eight years younger and executed with him (and both corpses hanged upside down in the public square).

The photography and the camera work are exquisite, as are the lighting --absolute perfection-- the acting --masterful-- and the music --excellent.

Very somber movie, shot most of the time in heavy darkness; there is no comic relief whatsoever, not even light humor, but then, the story is extremely dark and tragic, something that could have come out from a Dorothy Parker story.

"Vincere" is an artful biopic that tells the story of Benito Mussolini's mistress and perhaps first wife, Ida Dalser (Giovanna Mezzogiorno). The film jumps around the time line, mainly from the point of view of Ida, with a mixture of heated political rallies and shout fests, intense love scenes (mostly early in the movie, hidden in darkness), real footage of a pompous Mussolini, and operatic melodrama.

It's not a biopic of Mussolini, but we see glimpses of his early socialist and atheist convictions, his conversion to fascism, and his eventual support for the church (for politically expedient purposes until old age, judging from the history). We hear Mussolini dream of an Italy that surpasses morality and brings about fundamental changes. He's not specific, but he doesn't want to become like average folk. He wants to outdo even Napoleon.

The film follows a TV documentary and two books about Ida, based on reporting by Marco Zeni. In the reports, Ida Dalser claims she married Benito Mussolini in 1914. She also had a son with him, named Benito Albino Mussolini. Historians don't have direct evidence she married Mussolini, but they have evidence he accepted responsibility for their son. For unknown reasons, he left her a year later and married Rachele Guidi after returning from the war.

According to the history (not the film), his last mistress, Clara Petacci, was executed (by firing squad) and hung upside down in the Piazza Loreto (Milan) along with him. Ida might have had that to look forward to if she had been by his side (she doesn't seem like a stay at home or turn a blind eye type of wife – she would have been with him). Tragic madness is a common theme in drama, and Ida Dalser arguably has a touch of madness. Her love affair with Benito Mussolini (Filippo Timi) operatically moves from intense devotion to angry feud. She sells everything to fund his newspaper, gives him a son, and attempts to force him to divorce his wife and return her to her rightful place by his side. She won't even think of another man. Is it love, true devotion, or revenge?

Most of the film tracks Ida Dalser in extremes of emotion, especially as corrupt Fascists suppress her and take her to a madhouse. She writes to everyone to try to publicize her marriage, including the pope, and she drags her son to Mussolini to dramatically express her outrage. My first thought in trying to describe Ida was, well, at least she didn't kill her son to get back at him. The movie doesn't explicitly depict her doing anything this mischievous, or perhaps the unthinkable is possible.

Did she succeed in sacrificing her son to get back at Mussolini? It's possible she embellished her relationship with Mussolini and her extreme conviction rubbed off on her son. The odd thing is that this interpretation fits with Giovanna Mezzogiorno's compelling performance of Ida throughout the film. She seems in love with more than Mussolini. She wants to stand by his side and be the public wife of a dictator. For example, she won't consider signing a power of attorney to help provide financially for her son because it might be seen by (her imagined) Mussolini as disloyalty. She refuses to lie about her marriage to return home for the sake of her son.

At a minimum, she was adamant in trying to embarrass Mussolini, and she did so despite the welfare of her son. (History is less fair to Ida than the film since it also implicates her publicly denouncing Mussolini as a traitor.) She's noble in her resoluteness to truth (if the marriage is true, of course). But why wouldn't she move on when Mussolini has already married someone else? Is a country better off when political scandals come out about a politician's personal love affairs? Is her resoluteness to truth really a resoluteness to power and status, or revenge?

It's easier to feel sympathy for her since the Fascists also abused their power beyond any respect for justice. The film doesn't necessarily demonize Mussolini. But only someone as powerful and ruthless as a dictator is able to persecute and silence his accusers (whether wife and son, or otherwise) rather than face them in court. It's a clear case of corruption and abuse of power.

We could go back and forth between the two sides eternally. If she had remained silent, she wouldn't have been in an asylum in the first place, and Fascist doctors wouldn't have been around to try to force her to lie about her marriage. However, she wouldn't have ended up in an asylum in a just and moral country. But sometimes it's best to remain silent about some truths if they aren't in your (or your son's) best interest. And so on. The film allows you to make your own interpretation and to spread the blame around as you like. The musical score has a beautiful (and loud) recurring piece that builds up dramatically and ends in low scratchy strings. The film begins and transitions emphatically, almost mimicking Mussolini's exclamation of "boom, boom, boom" as he praises a painting. It plays like a silent film in some sequences, such as a comical scene of political advocates fighting with one another as silhouettes in front of a classic movie projector.

Some of the sets nicely recreate Italy of the time period (Mussolini's duel, with factories in the background, is one of the best), but you don't get a chance to linger on them and the lighting is dark. It would be interesting to compare the film on DVD to the version played at theaters to see if the DVD is any darker than intended. As it is, it's best to view the film in complete darkness to get the benefit of its subtle lighting.

Note: The subtitles translate "Vincere" as a verb, meaning "to win".

Bellocchio's latest is yet another look at a controversial Italian political figure, Benito Mussolini; however, it deals with a phase of his life which was kept 'in the shadows' for a great many years – the dictator's first marriage, which even yielded him a son! As was the case with GOOD MORNING, NIGHT (2003) – in which the film-maker had treated the abduction and execution of ex-Prime Minister Aldo Moro – the politician emerges not to be the central figure after all (remaining, similarly, little more than a cipher); here, in fact, the protagonist is Mussolini's secreted – or, more precisely, rejected – wife, who even winds up in a mental institution (a fate which also befalls their offspring, where both would die eventually)! The meticulous period reconstruction (and emphatic score) was to be expected, yet the human drama – and, by extension, the fine leading performances of Giovanna Mezzogiorno and Fabrizio Timi – is ultimately what renders the movie compelling; interestingly, while Mussolini as an older man is shown only via authentic newsreel footage, Timi plays both father and son as a young adult! Needless to say, the director distances himself from the Fascist fervor which had gripped his nation in those pivotal war years – choosing to depict Mussolini as godless (the film begins with him defying the Almighty to strike him down) and inhuman (both in the treatment of his first family and in his animalistic sexual prowess: the latter scenes, of which there a few, would otherwise have no discernible point) and even goes so far as to ridicule him by having son repeatedly caricature father's famously arrogant mannerisms while speechifying (with this in mind, the title – which translates to "Winning" – is clearly ironic, since what it presents is anything but the correct fighting spirit)!

If the film-writer wanted to emphasize WHY the young Mussolini hated the church, he did a great job. The church's role in backing the power-mad dictator is demonstrated again and again. The movie shows his wife as clear-minded, yet her actions even after the priest has cautioned her on how to 'act' and appear to submit, indicate a crazed woman who can't believe that her actions are hopeless in the light of the corrupt country that Italy has become. there are many parallels to the United States here, as our country becomes increasingly an oligarchy, ruled by corporations with few in Congress not bought by their bribes.

Makes you wonder if speaking out does any good in such a hypocritical, ignorant time in which the T-Partiers, not realizing they embody the rants of Mussolini, speak to the low-esteem, the animalistic urges of the masses. This was a fantastic movie and I was amazed that there were so few in the audience, though not amazed that it appeared at our art movie houses here in Boston (the West Newton's adjunct, the Arlington's Capitol).

Marco Bellocchio directed and wrote (with Daniela Ceselli) this very dark version of the private life of Benito Mussolini, a portion of his life that centered on his mistress and the mother of his son, one Ida Dalser. Though the film never really reveals whether Ida Dasler and Mussolini were married (Mussolini already had a wife and child when he me the devastatingly beautiful and erotic Ida) but that simply doesn't seem to matter while watching this artistic triumph of a film. What the director does manage to portray is the life and times of Italy before, during, and after WW I, a time during which Mussolini began his influence as a socialist and ultimately founded Italian Fascism, becoming the Fascist dictator of Italy. The many permutations of the concepts of monarchism and socialism and eventually Fascism are delineated by the film, if at times as shadowy in their explanation as is the director's love of dark in lighting the screen during almost all of the action. Bellocchio uses black and white film clips throughout his film giving it a somewhat documentary flair, but the performances by the actors make this film very much a visceral drama and not a dry rehash of history.

Filippo Timi gives a gripping performance as both Mussolini the ardent and handsome lover and politician whose life is always controlled by the term 'Vincere' ('Win'). Aptly, when the bulky monster Mussolini rises out of the socialism into fascism and the war the part of Mussolini is 'played' by the film clips of the real person. But as the film draws toward the end of his life, Timi once again enters the film in the role of his son Benito Albino Mussolini, a lad stricken with insanity and confined to a sanitarium. As Mussolini's mistress (aka 'wife' by her accounts) Ida Dalser, Giovanna Mezzogiorno offers one of the strongest cinematic portrayals of an important woman of history. She is simply riveting - erotic when the romance begins, faithful even when she discovers Mussolini has a wife, and uncontrollably fierce as she is confined by the government (with Mussolini's approval) to an insane asylum. This is one of those performances that will live in memory long after this film is seen and hopefully will garner awards when the Oscar season comes round.

In all this is a beautifully wrought, intelligent, beautifully acted, occasionally confusing melodrama that sheds light on the man Mussolini, his rise to power, and the women who came under his influence. Recommended.

Grady Harp