We believed
The use of the imperfect in the title lends itself to multiple interpretations: it is of course a symptom of an ideal political now lost, buried in a youth with high hopes but collided with the harsh reality: that, essentially, that has seen the fruit of Italian unification many compromises, intrigue and blood shed in vain. But at the same time, it is also the emblem of the desire to regain a period that itself was based on the feeling of belief in an ideal. This last aspect is what the writer Giancarlo De Cataldo has repeatedly stressed in interviews and public meetings, as the driving force of an operation to bring back the Risorgimento in the center of debate Public youthful, embalmed in the stillness school memories.
The intent, however, happens across the board, giving the enumeration of historical facts, denying the vision of the Wars of Independence, the Expedition of the Thousand, and even the most famous faces such as Garibaldi, depicted as a shadow on top of a coastal slope, one of the most exciting sequences in the film. Just such a moment, the only one where the film seems finally to embrace a fairly epic denied in the first part of the story, gives a good idea of \u200b\u200bmetaphor for the ideal that you want to pursue: the Myth of Garibaldi, even before his physical presence and historical. Because the myth is what really explains the feelings that animated the young people in the adventure to the liberation of Italy. In fact, the risk is too high to be mitigated by other humans the same way as that of Mazzini, as interpreted by Toni Servillo, instead becomes a true art form of comedy in his black suit perfectly "in part" and the expression perennially serious only in the delusions of old age can out of himself after the long string of failures.
Moreover, behind the camera is not a director any, much less an author to Michele Placido fully embracing the cause of the story of great scope to plot the coordinates of Italy yesterday and today, including plots and characters of great depth, tragedy and farce which inevitably coexist. Mario Martone vice versa is an author aware of the theoretical capacity inherent in the cinematic language and the evocation of the past, and why "his" Renaissance is first and foremost an operation on the very concept of staging a previously known for the interposition of memories already filed. It then becomes a past with a view to replace human faces through the space given to minors, and three friends who follow paths different (approach, the latter reminiscent of the film adaptation of Romanzo Criminale , also written by De Cataldo), but also a past that is a metaphor for a condition that would be poured into the present, from which some small anachronisms, the most obvious of which is the 'eco monster "concrete sticking out into the countryside.
Therefore, the film is many things together, is the story of a failure but does not intend to accept themselves as such, but instead wants to be good arena for understanding the mistakes of the past, which often have the flavor pro- mistakes of this, it is also attempting to generate a healthy empathy for those people who believed, and it is also a lesson in cinema on the form of historical narrative and his ability to box genres from drama and the human family, to spy up to a final taste almost western. Expect the full version.
We believed
Director: Mario Martone
Screenplay: Mario Martone and Giancarlo De Cataldo, loosely based on the homonymous book by Anna Banti
Origin: Italy, 2010
Length: 170 '(movie version)
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