Vincere Screen 9 articles



Vincere Poster
  • To be sure, the director’s a formidable film artist, technically accomplished and sensationally riveting when working at the top of his game. That’s part of what makes Vincere such a grandiose whiff. A younger filmmaker might be forgiven the flashy, combustive excesses ofVincere’s thunderous march through time, which neither advances a coherent vision of epoch-defining events nor does the hard work of establishing Dalser’s legitimacy as a saintly figure worthy of sustained empathy.

  • [When Vincere] introduced Benito Mussolini right off the bat, I confess that I inwardly groaned, steeling myself for another dull, dutiful biopic. Whereupon the 70-year-old Bellocchio unleashed an aural and visual assault so dizzying and unrelenting that it more or less recapitulates the birth of Fascism in cinematic form. Mundane film-critic adjectives like “operatic” and “expressionistic” fail to convey the vivid sense of being steamrolled in your seat by the first hour’s nunchuck intertitles

  • The romance between Dalser and Mussolini doesn't simply sour; it is violently expunged and suppressed as an exercise of political omnipotence. Vincere represents a new spin on Bellocchio's customary bombast since he builds the aggression of fascist aesthetics into the texture of the film -- jagged slogans repeatedly hurled from the screen, low angle shots of gargantuan architecture, and a Futurist shattering of the cinematic picture plane.

  • Timi channels Klaus Kinski in his virtuoso reading of Mussolini, projecting with the full force of his muscular frame. In contrast, Mezzogiorno superbly expresses Dalser’s decline from sultry assurance to anguished obsession.

  • The through line for Bellocchio is cinema itself, from an early scene in which fighting movie patrons become a sort of living newsreel, to the many archival film clips and propaganda slogans ingeniously worked into the body of the film. The history of 20th-century Italy emerges as a kind of grandly cinematic delusion, andVincere as a timely cautionary tale about despots who fancy themselves media barons — and vice versa.

  • If Bellocchio's film were nothing but a recreation of a forgotten historical footnote, it would stand as an accomplished bit of work and the discussion would end there. But crafting a skillful period drama is only the beginning of the filmmaker's ambitions. If anything, Vincere is more interesting for what it says about the historical memory it revives than for that memory itself.

  • Less a biography on the early life of Fascist leader Benito Mussolini than a dissection into creating (and sustaining) a cult of personality, Marco Bellocchio's Vincere is a textured, operatic, and incisive historical fiction...

  • Boldly melodramatic yet undeniably powerful, Vincere is a return to accessibility for director Marco Bellocchio, who swaddles his movie in color and operatic flourishes.

  • In summary, VINCERE suggests the fatuous historical dramas that usually sweep the Academy Awards; in execution, it may be the most tantalizing film of Bellocchio's venerable career. The first half... has a pulsating momentum that's all but irresistible: This is the sort of filmmaking that bypasses the eyes and ears and goes straight for the central nervous system. But VINCERE is not only a great formal achievement; it's a singularly complex portrait of History.

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