★ / ★★★★
Ida Dalser (Giovanna Mezzogiorno) and Benito Mussolini (Filippo Timi) met in 1907 in Trent, as the former attempted to escape from a group of men. They reunite in 1914 in Milan and get involved in a romantic relationship. For a while, Ida chooses to support Mussolini because he is without a job. However, when his newspaper, Il Popolo d’Italia, takes off and he becomes an influential political figure, he no longer wants anything to do with Ida and their son. To hide his marriage, Mussolini pulls some strings to put Ida in a mental institution while their son is attended by the Church.
For those who do not know much about the former Italian leader’s personal and political history, like myself, “Vincere,” based on the screenplay by Marco Bellocchio and Daniela Ceselli, is likely to be a very confusing movie. The first hour moves quickly without apology as it jumps forward in time and back. We are forced to make too many assumptions about the relationship and not enough specific details we can hang onto. It only becomes somewhat bearable when Ida is placed in the mental asylum—the pacing has slowed and we get a chance to understand Ida’s motivations.
The historical backdrop prior and during Mussolini’s dictatorship is rather tedious. The picture is rife with repetition involving citizens yelling out whether the country should or should not go to war. I wanted to know about the two differing stances, but the screenplay fails to introduce characters from either side that serve as conduits for us to understand. In addition, using black-and-white footages are heavy-handed and self-important. To hide the fact that the politics on paper is not very well thought out or executed, the filmmakers use real images from the past as band-aid.
Though the relationship is supposed to go sour, not once did I feel that Ida and Mussolini are into each other. We watch one scene of them having great sex, but there is a lack of context with regards to how much Mussolini cares for Ida. Instead, there are plenty of shots of him looking stern and angry. While this is mainly Ida’s story, it is necessary that we get at least a small glimpse of Mussolini’s psychology given that what he ends up doing to his family is so extreme. In order words, here, there is not much to Ida’s husband other than he is obsessed with politics and hates his family. There is no intrigue.
There is one scene that hints at the power of the subject had the material been well-written. During Ida’s institutionalization, a psychiatrist, who is likely aware that there is no reason to keep her in the facility, tells her that if she hopes to be released someday, she must learn to be a good actor—for her and her son’s sake. The camera is placed very closely on the characters’ faces so there is a lot to absorb. Their conversation touches upon complex issues like sacrifice, betrayal, determination, and why it is smart to delay presenting the truth until time is right. It is the most empowering scene in the film.
Directed by Marco Bellocchio, “Vincere” is not accessible even though its cinematography is stylish and the costumes look wonderful. It should have been considerably more involving given that what has been done to Ida is morally wrong. Maybe it might have been a better biopic if the story had been told without pretension.