Vincere

Directed by: Mario Bellocchio Cast: Giovanna Mezzogiorno, Filippo Timi Running Time: 2 hr, 8 mins Rating: R Release Date: March 26, 2010 (Chicago)

PLOT: Before his peak of power, Benito Mussolini (Timi) romanced a mistress named Ida Dalser (Mezzogirono), and together they had a son. Soon after his rise to the top of Italian politics, he denied their existence, which left them in the hands of a government eager to protect him image.

WHO'S IT FOR?: Those really interested in learning about Mussolini's relationship with women will have the patience for this story’s change of focus, which only offers a perspective of the historical figure in the first half.

EXPECTATIONS: I did not hear much buzz from its appearance at the Chicago International Film Festival, but then again, not many other films not titled “Precious” or “Fish Tank” were ever the center of conversation.

SCORECARD (0-10)

ACTORS:

Giovanna Mezzogiorno as Ida Dalser: The focus given to her character is not optimal (especially when a dictator’s reign is left unexplored), but her frustrated, weeping performance keeps the second part from completely sinking. As a woman struggling to be with her son again, while also being condemned to a crazy house for “lying” about her relationship with Mussolini, it feels like watching the second act of Changeling all over again. Score: 5

Filippo Timi as Benito Mussolini: As his female co-star is always teary-eyed, Timi always has a kerosene fire burning behind his stone gaze. In a few shots, his performance is reminiscent of the volcanic Daniel Plainview. His introduction, which has him timing God to strike him down, thus proving that he does not exist, suggests an epic character of that barometer. As with Vincere, such is not so, as the always-looking-pissed-about-something performance is suddenly taken off the radar once Mussolini loses his hair and gets fat/really starts to run Italy. Was make-up unable to pull off something Orson Welles had done sixty years ago for Citizen Kane? Score: 6

TALKING: Yes, "vincere," ("win"), is one of the last words said in the film. Mussolini has a couple of “bumper sticker” phrases that enhance the intellect of both the film and the character, but the amount is not enough to make him resonant as a striking orator. Also, when Mussolini speaks to the masses, the footage is from an actual clip, which doesn’t count. Score: 5

SIGHTS: Classic silent films like Chaplin's The Kid and Eisenstein’s October are shown briefly in a movie that enjoys showing civilians at the cinema. As for other cinematographic moments, there are a couple of instances of striking imagery, such as alliteration of “the fog of war,” as seen towards the beginning of the film. Snuck in between what stands for typical filmmaking more than not, these shots seem to be a chance of luck with Vincere. Score: 6

SOUNDS: Philip Glass is the contributor of only one song, but the score often sounds like an opera he would write, with vocal cues complimenting scene changes and all. His common swirling flutes are predominant here, and are very reminiscent of the work that he did for the Qatsi trilogy. Score: 6

PLOT SPOILERS

BEST SCENE: The peak of Vincere’s performance intensity is shown briefly when Mussolini’s son does his own riled-up impersonation of the dictator’s speaking finesse. It's inspired, and most of all, it's spot on.

ENDING: As we all know, Mussolini was overthrown. However, not all of his "mistakes" were corrected.

QUESTIONS: Though not a question, I would be interested in knowing writer/director Bellocchio’s motivation in choosing to show only two people as victims of Mussolini’s selfish ways, instead of an entire country.

REWATCHABILITY: Though the pacing of the first part is swift, the same cannot be said for the second. There isn’t much that can be taken away from a second or even a third viewing of Vincere.

OVERALL

When talking about his own politics, a younger Mussolini says “Only a mule doesn’t change its course.” The promising Vincere wears the same sized flip-flops, as it presents the Italian dictator with an intriguing dynamic for only half of the film. As we are shown his rise to power, presented with a commendable performance by Timi, the story also focuses on how his selfish nature affected the women (mistress and wife) in his life. Vincere then makes a conscious decision to change its path, and it’s the wrong one – the attention is shifted entirely to that of his mistress, and her struggle to be recognized by Mussolini as his wife (though there are no wedding records to be found.)

As a whole, it’s not a biopic, but the resurrection of a story that involves two people getting the shaft from an all-powerful man. All of it is aimed at demonizing Mussolini, but I’m pretty sure we all know he is a bad man. Showing him turn his back on his son and behind-doors lover doesn’t really draw that point either – showing him ruin an entire country - that would.

As I’ve mentioned many times before, the first half of the film is quite good, and it shows promise. Were the powers of this film used for good, the life of Mussolini could have presented to international audiences in top form. The ill-fated decision Vincere makes with its story course is certainly its own type of downfall, and one of which it can’t recover from.

FINAL SCORE: 5/10