This is quite a sobering and bleak watch. Some of what goes on is quite chaotic and keeping track of what happens to who is a bit of a struggle. It's certainly an emotional watch and the cast do an alright job in showing the women's (and childrens) distress at times, having to deal with wars and unkind political movements and situations that cruelly tear things apart. I couldn't help but feel sorry for Ida, who undoubtedly got a rough ride of things. Her desperation is clear to see. Whether you regard her as a victim of herself so to speak, in believing in things that perhaps were never so, well, that's up the viewer. It's certainly a thoughtful and insightful film. I like that it slows down a bit from the fast paced, confrontational scenes near the start, with various newspaper headlines strewn over the screen and seemingly black and white library war footage shown (to put things in context, societally speaking?). I preferred the scenes of Ida in a hospital/asylum, trying her hardest to maintain access to her child, to prove her past, much to others distaste or disbelief. It's the element of state control over someone's identity and the sense of hiding someone out of view, to avoid embarrassment, that saddens me most. It is quite a grim watch I suppose, as I say and so that may put you off and there are some rather bland scenes but for the most part, its a reasonably thoughtful and decent enough film. I'm not sure I'd expressly recommend going out of your way to see this but if it sounds of interest and you can catch it, then you may enjoy it, yes.

An unusual, blistering piece. Not so much about a particular forrest fire that roared its way across the historical landscape - as about a particularly steadfast flame or two; left, for a time, in its wake.

The strength of the movie dwells in the interpretative intensity of the main actor and actress.

The montage of actual historical footage & fictional scenes made the 1st half looking broken & disjointed. The 2nd half is better for being more on the fictional side. Some decent acting though.

Vincere is one of the finest movies I've seen. I knew about Ida Dalser from my interest in Interwar Italy, but to see their love story in film was something . . . Quite different. The one word I would use to describe this film and its contents--its emotions, intrigue, Mussolini's early betrayal of his wife and son as he broke from the Socialists to join the war and climb onto Italy's national stage, and, of course, Fabrizio Costella's hauntingly accurate portrayal of the young DVX is simply: "Wow".

...mi aspettavo di più, nel complesso un film inferiore al solito Bellocchio, anche se la storia reale offre molti spunti. Non mi è piaciuta Giovanna Mezzogiorno.

Incoherent start and zero dramatic tension.

I really enjoyed this documentary, and even more interpretations, very intense.

Great melodrama both politically and romantically!

Well made movie. The story, unfortunately is depressing - and based on a true story

I giggled, sighed, screamed, shouted, cried about injustices, read the biography of Mussolini, and left me wanting to see more Italian films. Vincere works on many levels that ultimately left me satisfied.

An attempt quite valid, but not always exciting to bring a historical myth to the real world, and lead the viewer's eyes to an unknown history of ambition beyond measure.

(*** 1/2): [img]http://images.chrc4work.com/images/user/icons/icon14.gif[/img] Very well-acted and interesting.

interesting and weell done bio-pic about mussolini

A la base, un epiphenomene de l'histoire du fascisme italien : l'histoire d'Ida Dalser, maitresse et mere du premier fils de Mussolini, que ce dernier abandonnera et s'efforcera d'effacer de l'hagiographie officielle une fois le pouvoir recueilli. Pour autant, le contexte historique ne sert que de toile de fond a "Vincere" et denoncer les derives de la Grande histoire au moyen du tragique de la Petite n'interesse pas vraiment Marco Bellochio. Ouvertement allegorique - certains auront tot fait de rattacher l'insistance du realisateur a souligner le pouvoir de l'image a un autre phenomene politique italien plus contemporain ! -"Vincere" est moins un film sur la montee du fascisme ou la quete de pouvoir que sur la notion parfois tres relative de la "verite", a travers le combat d'une femme pour faire eclater cette derniere, un combat perdu d'avance puisqu'il s'oppose a une nation prise toute entiere d'ivresse collective. Par ailleurs, la figure du Duce, incarne par l'etonnant Fillipo Timi, s'estompe rapidement pour laisser la place a la figure burlesque du veritable dictateur des actualites d'epoque, et resurgit sous les traits du fils rendu fou pour l'absence du pere, reduit a singer grotesquement cette lointaine figure mediatique. Ce tourbillon de folie et de solitude, Bellochio le magnifie par sa mise en scene baroque et flamboyante. Brillant.

It seemed too forced at the beginning, but the performances and cinematography rescued this film for me.

Dicen que detrás de todo gran hombre hay una gran mujer. Detrás de un dictador hay una mujer en sufrimiento; en el caso de Benito Mussolini había una mujer llamada Ida Dalser quien lo amo desde el principio y tuvo su hijo. En vez de ser correspondida (Mussolini estaba casado con otra mujer) esta fue encerrada en un manicomio por muchos años alejada de su hijo y su familia. "Vincere" es un drama envolvente que goza de una excepcional producción. Esta nos transporta al contexto politico y social de la Italia de los 20s en pleno fascismo y se enfoca en dos personajes destinados a vivir bajo la sombra de un monstruo. El reparto es muy bueno pero Giovanna Mezzogiorno sobresale en el rol de una mujer destinada al sufrimiento. Sin duda es una propuesta valiosa de cine de arte italiano.

Mezzogiorno is mesmerising as Mussolinis miss treated misstress (no alteration intended) but aside from that this film is interesting without every being exceptional.

Mussolini's secret life revealed in an arty, washy and self indulged 온라인카지노추천 style movie. Italy, 1900's, and a moustachioed Mussolini's heated relationship with first wife Dasler is the theme. Mezzogiorno although excellent, is an awful choice to play fascist leader Benito Mussolini - he looks nothing like him for a big start. The film focuses on a certain period, and paints Mussolini as a dark, deep monster - after all he later has a denied child with her and gets her sectioned in an asylum. Mussolini is kept at arms length, this is frustrating and a pity. Cinema screens feature heavily, as do black and white historic reel images. There is a lot of shouting, passion and tension. It looks like a costume drama or a period drama love story being 온라인카지노추천 drama-esque. It has received rave reviews, probably from cult art-house movie critics and historians. I have to contest these praises, as the common man will bore of this film's ambitions. There is a period of mild nudity and sex (verging on creepy and soft porn) and this all adds to create a confusing, trying too hard, dull, specific/limited film. There are questions as to the historical accuracy, and the film feels slightly like political leader propaganda and/or glorification of Il Duce. .

La actriz principal es excelente, una historia sensual y dramatico. The lead actress is amazing, a sensual and dramatic stroy