The extraordinary story of Mussolini's first wife and oldest son (weren't they? are we sure?) is brilliantly realized by the noted Italian director/scenarist Marco Bellocchio. The film (translated as "Win" into English, though I'd prefer "Conquer" or maybe best, "Vanquish") pays homage to the Post-WWII Italian "realismo" of Rosselini, DeSica and others. It's replete with harsh and grainy newsreel footage of the "real" "Il Duce," a big, ambitious musical score, and relentlessly dark cinematography. When a picnic scene comes along 2/3rds of the way through the film, the bright sunshine of daytime is almost shocking.
It is, of course, an anti-Fascist statement, but it's told not through the politics of the times, but through the eyes of Ida Dalser, who is passionately in love with Mussolini's charisma and passion (but not necessarily his politics.) She sacrifices for her love, only to be shunted aside like a minor pawn in Il Duce's path of triumph.
Is Ida the precursor of the Italian people themselves, also seduced by Mussolini's considerable charisma? Is her son, Benito Albino, a metaphor for all Italy? Perhaps it doesn't matter. But I did see Ida not as a Fascist sympathizer but as a sympathetic figure. Mussolini, it seems clear, really doesn't care at all about her except for the considerable passion between them. And, like Italy, when he got what he wanted, he moved on.
By the way, did I mention how fabulous and sumptuous Giovanna Mezzogiorno is? Though she's a veteran actress, I'd never seen her before, but I'd see her again - mezzogiorno, matina, or notte. Reminiscent of Binoche, she carries the movie with her presence.
It is, of course, an anti-Fascist statement, but it's told not through the politics of the times, but through the eyes of Ida Dalser, who is passionately in love with Mussolini's charisma and passion (but not necessarily his politics.) She sacrifices for her love, only to be shunted aside like a minor pawn in Il Duce's path of triumph.
Is Ida the precursor of the Italian people themselves, also seduced by Mussolini's considerable charisma? Is her son, Benito Albino, a metaphor for all Italy? Perhaps it doesn't matter. But I did see Ida not as a Fascist sympathizer but as a sympathetic figure. Mussolini, it seems clear, really doesn't care at all about her except for the considerable passion between them. And, like Italy, when he got what he wanted, he moved on.
By the way, did I mention how fabulous and sumptuous Giovanna Mezzogiorno is? Though she's a veteran actress, I'd never seen her before, but I'd see her again - mezzogiorno, matina, or notte. Reminiscent of Binoche, she carries the movie with her presence.