Some amazing, poetic imagery, a rich, almost operatic score, and a hyper-emotional yet always grounded lead performance by Giovanna Mezzogiomo make this film work.
The story of Mussolini's cruelly rejected and forgotten wife and son (they were a problem politically, since it turned out he was already married) is certainly interesting, and a glimpse at the toll of dictatorship on a much more human scale. It was also gripping to see Mussolini portrayed as more complex and dangerously charismatic than the buffoonish cartoon he has become in the public's mind.
That said, for me the film felt long at 125 minutes. The repetition with which Ida Dalser is locked away in various mental institutions and studiously ignored is at first powerful, but ultimately wearying.
Perhaps I was over prepared, as so many critics declared this Bellocchio's best film in years, perhaps ever. But then, I was always a bit out of sync with the critical establishment re Bollocchio. I'm also not obsessed with "Fists in Pocket" his first film, widely regarded as a masterpiece. As with "Vincere" I liked it, but felt it milked one tone too long. I'm more drawn to his more subtle and complex work like "Good Morning, Night" and "Henry IV".
But I will re-watch this, and I'm happy to have discovered this director's wonderful, unique, slightly surreal, yet still emotional work, even if it took me too many years to do so.
The story of Mussolini's cruelly rejected and forgotten wife and son (they were a problem politically, since it turned out he was already married) is certainly interesting, and a glimpse at the toll of dictatorship on a much more human scale. It was also gripping to see Mussolini portrayed as more complex and dangerously charismatic than the buffoonish cartoon he has become in the public's mind.
That said, for me the film felt long at 125 minutes. The repetition with which Ida Dalser is locked away in various mental institutions and studiously ignored is at first powerful, but ultimately wearying.
Perhaps I was over prepared, as so many critics declared this Bellocchio's best film in years, perhaps ever. But then, I was always a bit out of sync with the critical establishment re Bollocchio. I'm also not obsessed with "Fists in Pocket" his first film, widely regarded as a masterpiece. As with "Vincere" I liked it, but felt it milked one tone too long. I'm more drawn to his more subtle and complex work like "Good Morning, Night" and "Henry IV".
But I will re-watch this, and I'm happy to have discovered this director's wonderful, unique, slightly surreal, yet still emotional work, even if it took me too many years to do so.