#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – The story of Ida Dalser, who fell in love with the future Italian Fascist leader, Benito Mussolini, supported him while he was unemployed in the early 1910s, and married him, presumably around 1914. She bore Mussolini a son, Benito Albino, before the outbreak of World War I. The two lost touch during the war years and, upon discovering him again in a hospital during the war, she also discovered Rachele Guidi, who had married Mussolini in 1915, and a daughter born in 1910 when Guidi and Mussolini were living together. Historically, following his political ascendancy, Mussolini suppressed the information about his first marriage and he (through the Fascist party) persecuted both his first wife and oldest son and committed them forcibly to asylums.
Plot: The story of the descent into madness of Mussolini’s secret first wife, Ida Dasler, who was seduced by his passion and vigour but blind to the fascist dictator’s many flaws. A historical drama with the passion, lyricism and tragedy of a classical Italian opera. Nominated for the Palme d’Or at the 2009 Cannes Film Festival.
Smart Tags: #1910s #dictatorship #world_war_one #cinema #female_full_frontal_nudity #1920s #italy #fascism #based_on_true_story #italian_history #asylum #marriage #female_pubic_hair #coitus #black_and_white_scene #ends_with_historical_notes #live_chicken #human_skull #archival_photograph #year_1917 #archival_footage
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A decent entry into Palme d’Or selection, but it is by no means stunning.
In competition for 2009’s Palme d’Or, Vincere is a new film by Marco Bellocchio. It is set in the early 20th century in Italy, during a dangerous time of oppression and political revolution, which cumulated in the evil that was Fascism. The story is not about the horrors of Fascism per se or how it rose to become an ideology matched in its ghastliness only by Nazism, but of its dictator Benito Mussolini and his private life.
Vincere tells the true story of Mussolini (Filippo Timi) and Ida Dalser (Giovana Mezzogiorno), his secret lover whom he had a passionate but somewhat sordid affair with. In the film, Dalser gives birth to a son who is taken away from her. She is also sent to a mental institution for claiming that she is the “rightful wife” of Mussolini; the latter is married and denies the affair with Dalser.
Much of Vincere revolves around Dalser, whom is portrayed as a sympathetic figure, a person who loved and trusted Mussolini with all her heart, but ended up suffering the ignominy of being a “prisoner of a vile dictator”. Mezzogiorno’s performance is noteworthy. She switches effortlessly from a seductive woman who oozes sexual allure (she appears completely nude in a number of shots) to a frustrated person devoid of the freedom to pursue personal justice.
Timi also plays Mussolini with a fierce affection. But he fizzles out in the second half of the picture after Bellocchio rightly gives more screen time to Mezzogiorno. Even though the core of Vincere rests upon the relationship (or lack of) between Mussolini and Dalser, the political themes of the film remain in the consciousness of the viewer throughout.
Bellocchio inserts old black-and-white footages of history into the film, drawing our attention to the fervent and violent political and nationalistic attitudes of that era. The shouts of “Italia! Italia!” and the real Mussolini giving a powerful speech about war are, at the very least, disquieting. Matched with a loud, rousing score with lots of brass and choir, the film is quite strong in creating a mood of paranoia.
Vincere somewhat ends too quickly. Even for a film that is slightly longer than two hours, it seems like more exposition is warranted and would have been greeted more positively than not. Thus, the film feels incomplete but it is still a well-made film with its cinematography, in particular, an aspect to appreciate.
It may seem ironic but in Vincere’s most emotional sequence, Bellocchio uses clips from Chaplin’s The Kid (1921). In The Kid, Chaplin’s character is devastated when his young son is taken away from him by the state. Dalser, who watches the film in an open-air screening, draws strength from it in the hope that she will one day see her son again.
Bellocchio’s Vincere is a decent entry into the Palme d’Or selection, but it is by no means a stunning piece of cinema. The private story of Mussolini (or rather Dalser’s) is compelling enough to last the two hours, though it would have been better received with a more complete approach.
SCORE: 7.5/10 (www.filmnomenon.blogspot.com) All rights reserved!
The film is about Mussolini’s secret lover Ida Dalser’s tragic story. I know it is an important Italian film last year, but for me, before watching it, I even haven’t seen a picture of Mussolini (fortunately enough at least I know who he is), and now, I think he looks a little bit like Robert Duvall (hope it is not an offense, to Signor Duvall).
The well-recognized director Marco Bellocchio just passed 70, and as a disciple of Pasolini, through half a century, his films mainly are somewhat political-related, which explains very much why I haven’t watched his other films yet. But after this one, I am more than happily to appreciate his other works, to name a few FISTS IN THE POCKET (PUGNI IN TASCA) (1965) his debut, HENRY IV (1984).
It’s a dark film, not only because of its palette (mainly depressive blue and purple, with scenes mostly happen in the night and later, inside a mental hospital), but also infused by the fate of our protagonist Ida Dalser (a marvelous Giovanna Mezzogiorno, whom I often mistake as Sarah McLanchlan). The reason why people (at least myself) love to watch tragic or dramatic films is because generally speaking, our own lives are not so turbulent, we need to see something to exercise or release our emotions, to make them move a little bit in case they will become numb. And I believe that dramatic films are much easier to make as often, the story itself has already been tantalizing enough so what the worst could it be? We have already prepared the tissue paper before the screen is lightening.
I have to admit this film handled the sensitive topic skillfully, which proves that while aging, Marco is improving his skills too (which is so rare as we all know, 70s is definitely not a golden-era for directors), most obviously by substituting Filippo Timi’s performance with black-white footages of real Mussolini in the latter part of the film, make sure the focus is Ida herself, as a man becomes the leader of a nation, he no longer belongs to any single person, at the same time any single person becomes trivial to him as well. I think Ida couldn’t get through this, her love is blind, hormone-driven, but we feel sympathy for her because this is what we believe true love should be.
It is a pity I’m not an Italian or I could have known more about Mussolini, otherwise I could enjoy more (or maybe not!). Anyway I am happy to see the surviving Italian directors from golden age still strive for making excellent films at a time when even Nanni Moretti has become legendary.
Original Language it
Runtime 2 hr 8 min (128 min), 1 hr 58 min (118 min) (cut) (France), 1 hr 58 min (118 min) (cut) (Luxembourg), 1 hr 58 min (118 min) (cut) (Belgium), 2 hr 1 min (121 min) (cut) (USA)
Genre Biography, Drama, Romance
Director Marco Bellocchio
Writer Marco Bellocchio, Daniela Ceselli
Actors Giovanna Mezzogiorno, Filippo Timi, Fausto Russo Alesi
Country Italy, France
Awards 47 wins & 40 nominations
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Arriflex Cameras
Laboratory Cinecittà Laboratories, Roma, Italy
Film Length 3,400 m (Portugal, 35 mm)
Negative Format 35 mm (Fuji)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm