This is a well-structured cinematic production in all its aspects. The storytelling is convincing, the character performances are compelling, and the visual construction is solid, encompassing all elements of cinematography.
Narratively, this film is the latest in a long line of movies that contribute to the post-war myth of the "Italiani brava gente" (Italians, the good people) who, in some way, have sought to redeem Italy's wartime role from the ignominy of its actions, from the civil war in Spain, with its horrifying bombings of civilians, to the massacres in Ethiopia or the bloody invasion of Libya or Greece. Since the armistice of '43 and in the post-war era, when the tables turned and coexistence with new allies, first, and then with a whole European community, became necessary, there has been a predominantly cinematic effort to create the myth of the "good Italian," largely overlooking or neglecting all other aspects. In fact, as early as 1954, the film "La grande speranza" (The big hope) was produced about this same wartime episode, of which "Comandante" can be seen as a remake.
It is commendable to resurrect heroic figures for the creation of a popular national narrative, but what truly matters are the facts, and it is sufficient to note that to this day, Italy has still not officially apologized to the Spanish government for the atrocious damage inflicted by its bombings on the civilian population, something that, for example, the German government has done.
Returning to the film, one gets the sense that this story is being revived today, at a time when the tragedy of shipwrecks involving sub-Saharan immigrants crossing the western Mediterranean is prevalent, with many being rescued and others mercilessly rejected by the current governments. In this sense, the film seems to issue a warning to governments of all orientations, especially those of the right, that lives must be saved at sea.
And this is the merit of this film, having precisely combined a historical event with a burning contemporary issue that is not even explicitly mentioned but that everyone has connected. Chapeau.
Narratively, this film is the latest in a long line of movies that contribute to the post-war myth of the "Italiani brava gente" (Italians, the good people) who, in some way, have sought to redeem Italy's wartime role from the ignominy of its actions, from the civil war in Spain, with its horrifying bombings of civilians, to the massacres in Ethiopia or the bloody invasion of Libya or Greece. Since the armistice of '43 and in the post-war era, when the tables turned and coexistence with new allies, first, and then with a whole European community, became necessary, there has been a predominantly cinematic effort to create the myth of the "good Italian," largely overlooking or neglecting all other aspects. In fact, as early as 1954, the film "La grande speranza" (The big hope) was produced about this same wartime episode, of which "Comandante" can be seen as a remake.
It is commendable to resurrect heroic figures for the creation of a popular national narrative, but what truly matters are the facts, and it is sufficient to note that to this day, Italy has still not officially apologized to the Spanish government for the atrocious damage inflicted by its bombings on the civilian population, something that, for example, the German government has done.
Returning to the film, one gets the sense that this story is being revived today, at a time when the tragedy of shipwrecks involving sub-Saharan immigrants crossing the western Mediterranean is prevalent, with many being rescued and others mercilessly rejected by the current governments. In this sense, the film seems to issue a warning to governments of all orientations, especially those of the right, that lives must be saved at sea.
And this is the merit of this film, having precisely combined a historical event with a burning contemporary issue that is not even explicitly mentioned but that everyone has connected. Chapeau.