The fascist and the communist sympathizer together on a journey to try to understand each other by going beyond ideologies in the work of Tommy Weber based on the graphic novel
Two brothers, two lives, two Italies. Confronted during the most classic of on the roadtwo thousand kilometers on board first of a blue Millecento (we are in the mid-fifties) and then of what happens, even a hearsewhere the past returns to make its own weight inheritance but it also forces us to look inside ourselves to understand the reasons that prompted the two protagonists of the film to take streets so much diverse.
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curiously an Italian majority work (albeit with a transalpine co-production) than the director Tommy Weber drew from the namesake graphic novel by Alfred, both French but both in love with Italy, from which the parents of the designer also come, who is actually called Papagalli and who, if you have patience, can be seen with their daughter Selma during the credits.
The story begins in Dieppein the North of France, in 1956, where a bewildered spectator witnesses a clandestine meeting of boxing, among the shouting audience of bettors: it is André (Antonio Folletto), who came on purpose from Procida to convince the brother Fabio (Francesco Di Leva), who has just seen ending up on the ground under the fists of the opponent, returning home, for the funeral of the father.
The answer does not leave doubts: Fabio has no intention of returning to Procida, except that someone is looking for him with intentions not very benevolentforcing him to flee half naked from a mistress and to hide in the hotel where his brother told him to stay. Forcing him to take the road to Italy immediately. Thus we begin to know who I am, who have not seen each other for 17 years, since before the end of the war, where we understand they were lined up on two fields opposites.
But above all, the two characters begin to take shape: Fabio decided, selfish and not at all concerned with hiding the contempt he feels for the rest of humanity; André more composedquasi fearful, used to measuring words and gestures. It does not take us long to discover another fundamental piece, that of the political position: Fabio was fascist and it still is, taking pride in continuing to demonstrate the same arrogance e arrogance of the (supposed) alpha male; André, on the other hand, has opposite ideas (“Are you a Communist?” His brother asks him, without however receiving an answer) but he never lets himself be involved inaggression of Fabio, who strives to keep as much as possible at bay.
The journey continues between inconveniences e fortuitous encounterswhere a half-naked priest stands out (Hugo Dillon) with a past as a partisan, who hides a rifle in church and knows how to find stolen cars (as happened to André’s), while Fabio saves (and adopts) a dog without a paw. But everything seems to be functional above all to the mutual knowledge and discovering the tensions that continue to keep them apart. So the reasons ideological – in reaction to the communist father (Massimiliano Rossi), Fabio left as a volunteer in Eritrea to then fight on home fronton the hunt for partisans – slowly fade into the background, to bring the never subsided rivalry with his father, who seemed more inclined to use his hands than words to shape his own dissent.
Not everything in the script (written by the director with Filippo Bologna e Luca Renucci) seems perfectly focused, like the trip shot a little too cheap, without ever cross trafficor certain twists in the story (the meeting with the comrade played by Gianluca Gobbi) but it is proof of the two actors to transmit energy to the film and make it pass through by one electric discharge. Fabio’s sudden outbursts of anger, André’s overly controlled reactions are not forgotten thanks to the performance of the two actors, a Francesco Di Leva that grows with each film and is establishing itself as one of the most interesting figures of the actor scene Neapolitan and a Antonio Folletto that we hope will find the same attention at the cinema that the television.
June 14, 2022 (change June 15, 2022 | 11:22)
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