Adapted by Martone and Giancarlo De Cataldo from Anna Banti’s novel, We Believed recounts the lives of two young aristocrats and a young peasant who are involved in the republican struggle of 1828-1859, a resurgence of the Italian revolution that failed in its attempt to bring about the Republic.
Mario Martone staged his first show, “Faust”, in 1976, and two years later founded the Falso Movimento theatre company. In 1982 he gained considerable renown with “Tango glaciale”, which rounded off a cycle of productions that began with “Dallas 1983”, “Rosso Texaco” and “Controllo totale”: the protagonists are the urban fabric of the city and the individuals that populate it, while the music and images melt together in a cross-contamination that explores the possibilities offered by the languages of the different media. These ideas are picked up again in “Otello” (1982) and even more so in “Il desiderio preso per la coda” (1985) inspired by Picasso, “Coltelli nel cuore” (1986) inspired by Brecht, “Ritorno ad Alphaville” (1986) by Godard. In 1986 a new theatre group was founded, Teatri Uniti, for which he directed many works, from “Philoctetes (Filottete)” (1987) by Sofocles to Shakespeare’s “Richard II (Riccardo II)” (1993). Meanwhile, after experimenting with film in 1980 with a number… read more
Martone's project about the Italian "Risorgimento", coinciding with the 150th anniversary of inauguration of the Italian state, is interesting but it fails on too many cinematic levels. Acting is sloppy, dialogues sometimes seem lifted from a textbook (a XIX-century one that is) and the overall narrative arch may be obscure to someone who's not proficient in Italian history. It is in the end not a good movie.
Film inutilmente ambizioso, ben al di sotto delle aspettative, con un cast di cani incomparabili. Per non parlare dei tentativi (abbondantemente infruttuosi nonché ampliamente retorici) di creare un ponte con la storia attuale. Senza contare che le oltre 3 ore di film potevano essere tranquillamente dimezzate, senza inficiare minimamente il valore (alquanto scarso dell'opera).
Un film necessario, importante, bello. Martone ha scelto il modo meno ovvio di trattare il Risorgimento Italiano, e in questo modo ha realizzato un film di valore che resta e non dura una stagione, non retorico, non scontato.