Newsflash: Benito Mussolini was a jerk!
Vincere (Win), the new film by radical '60s director Marco Bellocchio is a biography of Il Duce's obsessive mistress, Ida Dalser (Giovanna Mezzogiorno, Love in the Time of Cholera). As a young woman, she stumbles into the emerging revolutionary more than once, usually while he is on the run for his life. She insists her way into his life, devoting herself entirely to her lover (played by Filippo Timi), though apparently never really clueing in to the fact that he was already married. Still, Ida gives birth to Mussolini's first-born son only to find herself increasingly shunned as the Fascist leader grows more popular. Ida becomes the living embodiment of the adage "just because you're paranoid doesn't mean they aren't after you." Eager to bury this extra family, Mussolini has his hoods lock Ida away in a mental hospital.
The tables are turned at this point of the movie, and Bellocchio challenges our perception of events. Is it possible that our first impression of Ida as an off-her-nut stalker was a little harsh? Mussolini has so effectively cut her out, she has a right to be angry, and he has placed her in the one place where it is assured no one will believe her. Bellocchio makes the smart decision to remove the movie's version of the dictator from the film at this point. From then on out, Mussolini only appears in unearthed newsreel, and the man himself looks far different than the handsome actor who portrayed his younger years (in a sly joke, even Ida doesn't recognize him). It's all about Ida at this point, and her unflinching devotion to the truth. Or is it the truth? Could his sudden absence mean it's all been in her head? Not likely, but you have to consider it.
Having recently viewed Bellocchio's debut film, Fists in the Pocket (1965), for the first time, I was eager to see whether the older director had retained any of the younger's anything-goes spirit. How would he fit in a formal genre like a biopic? Surprisingly well, as it turns out. When Vincere settles into its conventions, it's not unlike how Bellocchio's contemporary Bernardo Bertollucci got serious in the 1980s. The old man has some fire in him yet, however, and Vincere is frequently ignited by audacious doses of opera, collages of vintage cinema and documentary footage, and insistent title graphics that appear onscreen like propagandic headlines (not unlike how film was used to spread the message way back when). These are mostly present in the first half of the film, when the young Mussolini is ready to impose his will on his audience.
Filippo Timi is fantastic as Mussolini. He also plays the dual role as the younger Benito grown up, losing his mind, and doing impressions of his father. It's a fiery role made believable by Timi's intense charisma. He is powerful as Il Duce, establishing his hunger and his forceful personality, but then managing to parody his own performance with his comic turn as the deluded Benito Jr. Does he remind anybody else of Alberto Sordi? Litle Benito playacting as Big Benito is reminiscent of the comic stylings of early cinema's best funnymen.
Vincere is not the dictator's movie, however, it's an actress' picture, and Giovanna Mezzogiorno's passion not only dominates her lover's in the first half of the movie, but once Bellocchio surrenders his film completely to her, she runs with it. Ida's mental deterioration is heartbreaking, and Bellocchio pushes her by letting several scenes rest entirely on her face as she silently breaks down. Mezzogiorno is also dead sexy in that crazy kind of way, and the love scenes between Ida and Mussolini are extra steamy.
Vincere joins a spate of recent Italian movies that match political messages with cinematic vigor. Gomorrah played at PIFF last year, as did the less artistically successful but visually dynamic Il Divo. Something is obviously going on over there, the Italians are all fired up and ready to do some screen damage. I look forward to what's coming next.
The 1.85:1 anamorphic transfer of Vincere is marvelous. Having originally seen it in the theatre, I was impressed by the texture of the film, of the painterly colors and the subtle grain. That is all retained here for the DVD. The shadows look deep and alluring, and the subtleties of skin tone are magnificent. Top notch.
The original Italian audio is mixed in 5.1 and the balance throughout is really well done. There are a lot of quiet scenes where ambient noise sounds very good, and also much louder scenes that have a commanding power.
Optional English subtitles are very good and not too quickly paced--sometimes Italian films are hard, they talk so fast! A second option is geared toward the deaf and hearing impaired, and there are also Spanish subtitles.
The theatrical trailer is Vincere's only extra.
Marco Bellocchio's unconventional, stirring biopic is a victory in more than title. Vincere is a fascinating, creatively inspired retelling of the fiery relationship between Benito Mussolini and Ida Dalser--an affair that likely happened, but the full scope of which has been called into question. The conflict between truth and disinformation makes for some interesting cinematic shifts on the part of the director, who takes every advantage of his remarkable cast. Filippo Timi is incendiary as Mussolini, but Giovanna Mezzogiorno offers the more varied performance. You won't be able to take your eyes off her, not even as she slides into madness. Highly Recommended.
Jamie S. Rich is a novelist and comic book writer. He is best known for his collaborations with Joelle Jones, including the hardboiled crime comic book You Have Killed Me, the challenging romance 12 Reasons Why I Love Her, and the 2007 prose novel Have You Seen the Horizon Lately?, for which Jones did the cover. All three were published by Oni Press. His most recent project is the superhero series It Girl and the Atomics and the futuristic romance A Boy and a Girl with Natalie Nourigat. Follow Rich's blog at Confessions123.com.