To engage in the contemporary cultural discourse on history and present it as a manifestation of historical truth, even if it is through certain scenes or dialogues, is, in my perception, an attempt to solidify a stereotypical image of history itself, disregarding certain facts about historical conflicts and their political, social, and religious implications, particularly in the realm of cinema. If the film falls within the biographical genre, as is the case with Ferrara's latest work, there is a slight manipulation of history, giving a cultural impression of the struggle between fascism and socialism in early Italy. This presentation, however, remains stylized in some scenes. Nonetheless, on a general level, the film follows Ferrara's typical pattern of evoking an ominous and mysterious presence without clear substantiation. There is an obsession with objects and affiliations from various factions, despite their lack of convergence. The anarchists, democratic socialists, fascist socialists, communists, Catholic Church, and the central figure, Father Padre, all become entangled in an attempt to depict a cryptic part of his life. Although some documented information about Padre's life confirms his inclination towards the fascist social order and his support for arming fascists, Ferrara intended to create a world that is less stringent in its adherence to the biographical truth, making Padre's struggle a wholly separate and internal one, detached from the political landscape and the immediate post-World War I events.
I believe Ferrara's depictions are critical in addressing the clergy's involvement in the dark side of human conflict. He aimed to present Padre not as an active participant and supporter of fascism, but he did not dismiss the darker aspects of the church's ideological and religious rigidity in Padre's mind, and its tendency towards violence against anyone deviating from Jesus Christ's teachings.
The film offers limited political insights into Italy during the 1920s, and it presents an idealized approach to understanding the achievement of a political justice system from a populist perspective, which halted the military regression, albeit symbolically, towards destruction towards the end of the film.
Overall, the film operates within a commendable framework, and I found myself relatively intrigued by Ferrara's cautious presentation of the desired imagery, without delving extensively into explicating it. They are fleeting and delicate glimpses into the life of a martyr of faith, a neutral observer of the daily human struggle, seeking to achieve a sense of justice within the mechanisms of exploitation.
I thoroughly enjoyed Shia LaBeouf's portrayal of the character Padre.
I believe Ferrara's depictions are critical in addressing the clergy's involvement in the dark side of human conflict. He aimed to present Padre not as an active participant and supporter of fascism, but he did not dismiss the darker aspects of the church's ideological and religious rigidity in Padre's mind, and its tendency towards violence against anyone deviating from Jesus Christ's teachings.
The film offers limited political insights into Italy during the 1920s, and it presents an idealized approach to understanding the achievement of a political justice system from a populist perspective, which halted the military regression, albeit symbolically, towards destruction towards the end of the film.
Overall, the film operates within a commendable framework, and I found myself relatively intrigued by Ferrara's cautious presentation of the desired imagery, without delving extensively into explicating it. They are fleeting and delicate glimpses into the life of a martyr of faith, a neutral observer of the daily human struggle, seeking to achieve a sense of justice within the mechanisms of exploitation.
I thoroughly enjoyed Shia LaBeouf's portrayal of the character Padre.