User Reviews

Based on the novel by Antonio Pennacci, "My Brother is an Only Child" is a tale of two brothers growing up in Italy in the turbulent 1960s and '70s. Though remarkably alike in disposition and temperament, the two siblings, nevertheless, find themselves on opposite ends of the political spectrum. Manrico (Riccardo Scamarrio), the older of the two, is a committed Communist who rallies the workers in his town to stand up for their rights. Accio (Elio Germano), his younger brother and also the narrator of the story, is a hardcore Fascist who venerates Mussolini and participates in violent protests against the Marxists. A hothead and a bully by nature, Accio (the name actually means "bully" in Italian) finds a convenient outlet for his rage and violence in the thuggery and strong arm tactics he and his fellow fascists use against their adversaries. Manrico and Accio have obviously had a tumultuous love-hate relationship their entire lives, and things get even more complicated when Accio falls in love with Manrico's girlfriend, Francesca. But each man must ultimately decide where his true loyalty finally lies - with family or with the ideological cause that moves and empowers him. This becomes an even more complex question when one of the brothers becomes increasingly disillusioned with the goals and tactics used by his side, while the other grows increasingly radicalized in his commitment to his.

Director Daniele Luchetti brings renewed life to the coming-of-age genre with his intense concentration on the sociopolitical elements of the story. It gets so bad between the two warring factions that even a performance of Beethoven becomes a pretext for bloodshed and violence. And the constant tussling between the two brothers - who can't seem to see eye-to-eye on anything except the girl they love - becomes a microcosmic reflection of the larger world around them.

Uniformly superb performances and naturalistic direction make this a complex and ultimately very moving study of brotherhood, family, maturity and commitment.

There's this much to be said for this movie from the ranks of Italy's new young directors and actors: The quality of the acting was at least one notch above the usual fare, which almost never transcends the clichéd facial expressions and intonations we expect to find in TV dramas and sit-coms. This new generation of actors and directors was raised on US television imports ("telefilms") and Latin-American soaps, and it definitely shows in the uninspired and uninspiring quality of their work. And one gets the impression that 90% of them come from Parioli, a very well-to-do neighborhood of Rome, that would be the rough equivalent of coming from Santa Monica, Lake Forest IL, or Westport Conn—all those perfectly groomed faces coming from families of the Italian haute bourgeoisie with unlimited funds to advance their children's "acting career." If it weren't for Elio Germano as Accio (as well as Luca Zingaretti as Accio's fascist mentor and Anna Bonaiuto as his wife), this movie would probably fall into the same category of banalized film-making with all the rest.

But Germano's performance is not enough to salvage a film that fails to rise above a rating of "mediocrity +". Certainly it was an interesting idea to situate the action in Latina, a city built from scratch by Mussolini's fascist regime after it had drained the surrounding swamp land (the "bonifica" that was one of Fascism's highly touted achievements). All of the city's architecture was inspired by fascist "monumental" design.

Regrettably, Luchetti has done little of interest to exploit this setting for his family drama other than to bring up the same old cliché of opposing extremisms (the thuggery of the neo-fascist right vs. the banditry and targeted terrorism of the extra-parliamentary left). And the drama of the conflict between these two extremisms is used altogether too much to drive the plot forward. Some Italian commentators disliked this film because it seemed to go over the same old ground in the same old way—when it was time, presumably, to move on to new subjects. But the problem was not that it rehashed Italian history—the problem was the "hash." Bellocchio, after all, did a wonderful job of re-interpreting to Italians the experience of the Red Brigades in his "Buongiorno,Notte".

But here the audience is simply given a choice between fascist hooliganism and a lunatic left, when actually the situation in Italy in the 60s and 70s was much more complicated and nuanced. Millions of Italians belonged to parties and movements that were seriously committed to a progressive transformation of Italy that did not involve knee-cappings and assassinations. And so Luchetti ends up confirming (perhaps despite himself) the American/Berlusconiano vision of the world: "Forget about ideology—it's all about individual freedom and authenticity in your personal relationships." And finally we can see the effects of Berlusconi's TV stations and their ilk also in the movie's script. After 20, I stopped counting how many times the characters said, "Ma Che Cazzo Dici?"("What the f#%k are you saying?"). It is a measure of the moronization of the Italian public under the sway of Berlusconi and Berlusconian media that the scriptwriters think that they can get a laugh out of an Italian audience with this phrase each and every time it is said—and sadly they're probably right.

This film is a dilemma for me. The first half just bounced along. The music was perfect. The energy pulled me along with it, seeing what felt to me like real people's insight into the serious subject matter. Interesting subject matter, interesting characters with motivation, who I cared about. You do laugh at things, even when serious stuff is going on most of the time. I didn't think it could get any better.

And then in a blink of an eye (about an hour in, maybe), it all went to pieces. It dawdled slowly through clichés. I felt like I knew what was coming, and I didn't even care. It was implausible, and at times boring enough for me to lose concentration.

Part of the problem is that it is (as another reviewer noted) about 20 minutes too long. How come are there film directors - talented ones - who haven't yet noticed that 90 minutes is generally enough? 8/10 for the brilliant first half.

'My Brother is an Only Child' tells the story of two red-blooded siblings as they take their first steps into political and sexual adulthood in the Italy of the 1960s. It's an intriguing premise, but for me, it didn't quite come together. Specifically, the fascism and communism that its protagonists pursue seem obviously unappealing: the film fails to convey how anyone could follow such causes except out of immaturity, though there are some funny moments (the new leftist lyrics to Beethoven's Ninth Symphony the most obvious of them). At the end of the film, a housing scandal is exposed, but the film doesn't really explain how the scam had worked: the story would make sense if the houses in question hadn't actually been built, but in fact they have been, and one senses that the writer has resolved a happy ending without worrying too much about the details. What's nice about this film is its portrait of a place and a time, and the very believable love-hate relationship between the brothers; but if you weren't there yourself, perhaps its inevitable that you find yourself looking in from the outside.

The political backdrop of this 60s character drama is both nostalgic and frightening - that disaffected and rebellious Accio finds himself so easily taken in by a Fascist mentor strikes parallels with the our own young men turning to extremism or street violence in a search of identity. Accio clashes dramatically with his older brother, the hip, good-looking communist, but the story not so much about political ideals as their expression of familial jealousies and personal moral development.

The tensions and affections of this struggling working class family, portrayed by all with genuine emotion. The dialogue is witty and charming and not unlike other memorable Italian films (Il Postino, Cinema Paradiso) the characters come across almost too resoundingly. This gives the film a well-crafted theatrical quality, that is engaging, well-paced and very satisfying.

Our little film here is a coming of age tale of one young man's developing maturity from youth as a deluded fascist to a more left-ish political slant. The film title refers to an old Italian song, and in the context of the film refers to his older brother who is a strong willed communist activist (although there is a sister also who like the family as a whole is quite left-ish).

The film is really a feel good movie and it's humour all the way. The brothers may bicker but there is love between them despite any conflicts. Add in a mild love triangle with the elder brother's lady, and you have a real hodge podge reflecting the complications of youth for our lead man.

As much as you'll enjoy the film for its humour, there is still something missing. The story with its material could have said so much more. There are lots of good characters but you never feel it builds up to enough. The film never seems to challenge any of the views on screen. Feels like an opportunity lost somehow.

Beautifully filmed with great acting, you will enjoy the film. Great acting from the ensemble adds to the experience, but I just wish that we'd been given more in the story that was served up. However I still enjoyed it.

Saw this film last night with my same age friend (we do this often). As we are in our 60's and arrived in Rome during the period mentioned in the film. We were impressed with the verity of what we saw. While Italy remains fairly split between left and right, in those days it was far more brutal and school and university sit-ins were the name of the day. Everyone seemed to have fixed ideas which they discussed violently. We laughed at the communist 'let everyone state their views' meeting. These days condominium meetings are exactly like that. 2 Italians meet and you get two political parties! The film may not be the best one ever but even the scratchy quality of the film reminded us of that era. People our age (the audience had no-one under 50 last night), commented on how much they enjoyed it and how much it brought back memories. Perhaps you have to have lived the period to truly enjoy this film.

MY BROTHER IS AN ONLY CHILD ('Mio fratello è figlio unico') is a title that may confuse the casual movie viewer, but it is an apt summation of the rigorous story that this excellent Italian film by Danielle Luchetti (adapted from a novel by Antonio Pennacchi) represents - the coming of age of two brothers in the confusing and turbulent 1960's and 1970's in Italy. While the film deals with the myriad political factions that disrupted life especially among the students of that era, the main focus of the story is the indomitable brotherly love that bonds the two main characters.

Accio Benano (Vittorrio Emanuele Popizo) as a child is a mischief maker who has entered seminary to become a priest, but his innate search for truth and meaning soon finds him returning home to his little family in a Mussolini-fabricated town called Latina, a village built on promises of communal well-being (a housing project was built but the poor villagers are refused access to it), but languishes in the poverty of lost hopes and deflated spirits. Accio's father, mother, younger sister and older brother Manrico (Riccardo Scamarcio) are making ends meet, but are frustrated with the political oppression of the working class. Time passes and the older Accio (Elio Germano) comes under the influence of Mussolini's 'idealism' with the tutelage of his older friend Mario (Luca Zingaretti) and embraces Fascism while Manrico has aligned with the communists, and it is this dichotomy of belief that sets Accio apart from his brother as well as his family who are communist sympathizers. Accio's personality places him in harms way with the law, with women (he has longings for the women in both Mario's and Manrico's lives), and ultimately with turns of events that threaten to pit brother against brother. The resolution of these conflicts makes for a fascinating study of familial ties, brotherly love, and a keenly observed sociopolitical history of Italy that is as enlightening as it is entertaining.

While Germano and Scamarcio are the obvious stars of this well acted film, the supporting cast (including such fine actors as Angela Finocchiaro, Massimo Popolizio, Alba Rohrwacher, Anna Bonaiuto, and Diane Fleri) is uniformly strong. This epic film demands full attention to the script (Italian with English subtitles) to follow the various political differences, but the tenor of the film is one of the excitement and concomitant love of two brothers coming of age in the best Italian style! It is a joy to watch and a lesson in history about which we should all be aware. Grady Harp

Now, I like Communists... And I like Fascists... But which is better? There's only one way to find out... FIGHT!! Aside from the murky (and often boring) world of which following espoused the higher ideals, the two Italian brothers featured here have the usual conflicts... which is tougher, who deserves the most space and above all... who gets the girl.

Yep, it's the age old tale, told through the eyes of the black sheep, irresponsible younger sibling, whose straight-laced, serious brother is adored by everyone... except by him. Hmm... I can relate (somewhat). From where they both are at the start though, you'd never guess where their separate fates lie... Seriously, give it a go, and I bet you're incorrect.

Italians have always had a great capacity for emotion, as is seen here... I haven't seen one person slapped so many time since that occasion I told the young ladies outside the changing room I was the breast inspector. Honestly, you try to do a public service...

My personal woes aside though, this is an engaging enough piece, especially when the love/hate pair are on screen, because the supporting cast have a tendency to be underwritten. It didn't grab my attention the way some other European films ( More specifically, French ones) have of late, but if its any consolation I'd rather have a plate of spaghetti than frogs legs any day. C'est la vie. 6/10

Good Italian movies are few and far between – the last I saw was Zefferelli's "Tea with Mussolini", and before that, "Life Is Beautiful". It seems that Italian movies, good or bad, are rare. If the list in Wikipedia is anything to go by, Italy produces about ten to fifteen features a year, far less than Australia.

This one is about growing up in a post-Mussolini, post-war world as a working class Italian. The narrator, Accio (Elio Germano), bright but temperamental, is not the most pleasant of people (his name means bully). At 13 he is sent off to a seminary by his long-suffering and pious parents but even though it's a fairly humane regime he doesn't last long. So it's back to the family's tiny, crumbling flat to grow up with his older brother, Manrico (Riccardo Scarmarcio). Rejecting religion, Accio comes into the orbit of the local fascists, though he is more interested in action than ideology. The handsome, charming Manrico becomes a communist, and beds Francesca (Diane Fleri), an attractive middle class girl who has joined the comrades. Naturally Accio gets interested in Francesca as well.

The story covers the period 1962 to 1968 and plenty of reference is made to the turmoil of the times, but basically it is about a textbook case of sibling rivalry. Acco and Manrico cannot keep their hands off each other – in order to fight, that is. Acco however does manage to reach some sort of maturity at the end.

The story moves along at a good pace and there are plenty of funny scenes. The best one is the occupation by the communist students during the 1968 disturbances of the Rome conservatory where they perform Beethoven's "Ode to Joy" with the words changed to communist slogans, and are then invaded by the fascists crying "Don't mess with Beethoven" (actually the original words were from a poem by Schiller). The switch of actors (Vittorio Propizio plays the younger Accio) is accomplished in a particularly neat fashion, using a method I last saw used in "Conan the Barbarian" where the older actor is substituted in mid-scene.

In the background is Mussolini's legacy, an angry, confused and humiliated nation without a clear sense of direction. His 1930's "new towns" like Latina on the Pontine marches, jerry-built and badly designed, were crumbling already by the 1960s. Replacement housing had been built but corrupt local officials were holding up its allocation. There is a very satisfying moment at the end of the film when Accio, no stranger to causing a ruckus, takes remedial action.

Not being Italian I probably missed a lot, but the film held my attention for its full length, despite Accio not being a particularly nice lad (then neither was Genghis Khan and he had an interesting life). The film is bright, fresh and fast-moving though I'm not sure about the climax, which is rather on the melodramatic side. If the Italians can bring themselves to make more movies of this quality, I'll come along to watch.

Like the ground-breaking Best of Youth, My Brother is an Only Child (Mio fratello è figlio unico) covers a key period of political turmoil in Italian history seen in a relatable context from the perspective of an ordinary family. Daniele Luchetti enlists the screenwriters of the earlier successful TV mini-series Sandro Petraglia and Stefano Rulli and manages to bring the same sense of passion and urgency to Antonio Pennacchio's original novel and the autobiographical elements that inspired it.

My Brother is an Only Child covers a more condensed period of political turmoil from 1962 to 1977 that had an intense impact on a generation not only in Italy, but in many parts of Europe and the USA. There's something about the Italian experience however that manages to bring the swirl of forces at work into even greater focus, particularly in the way that they impact on the Benassi family, living significantly in the recently built town of Latina, founded by Mussolini in the fascist style. Developed entirely in eight weeks, the cracks however are now beginning to show.

The times they are a-changing and the former adherence to authority - mainly religious in the Benassi family - is being challenged by their two sons Accio and Manrico. The older brother Manrico has already developed left-wing revolutionary tendencies, and it doesn't take more than a revealing photo of actress Marisa Allasio to cause a crisis of faith in his younger brother Accio who has gone into a seminary in 1962. Accio however also has a crisis of faith in the Communism following the Cuban missile crisis, and turns instead to Fascism, recognising or believing that the ideals and achievements of Il Duce weren't all bad.

That's quite an ideological split in the Benassi family and it's compounded by the fact that they are quite a bunch of headstrong hotheads. Particularly the young Accio, who is still thrashing around for something to believe in, leading him down some very dark alleys, but Manrico also takes his activism to extremes. As dissatisfaction spills over onto the streets in the late sixties in mob violence, this results in some pronounced family tensions, but there are also romantic complications that reflect the film's treatment of the theme of loss of innocence.

Daniele Luchetti's pacy direction holds the wide dynamic of the film together well, getting right to the heart of the Italian passions and its fervour for life. Avoiding any kind of artificial 60s/70s period recreation (of the kind seen for example in Bertolucci's The Dreamers), and eliciting engaging performances from a young cast, My Brother is an Only Child has a wonderful naturalistic freshness and immediacy that speaks about love and youth, about ideals and disillusionment that speaks about life rather than making any political points specific only to Italy.

Luchetti's film ('Il mio fratello è figlio unico') goes from the Sixties into the Seventies in Italy following two brothers from a communist working-class family. Accio Benano, the rebellious younger one, who drops out of seminary very quickly, gives in to the constant indoctrination of a much older bus driver pal named Mario (Luca Zingaretti) and joins the fascist party. Then he falls in love with Francesca (Diane Fleri), the girlfriend (the first of a series) of his Lothario older brother Manrico (blue-eyed dreamboat Riccardo Scamarcio). Manrico becomes a leftist leader in '68 and moves on to terrorist activities in the Seventies. Accio's black-shirt cohorts cause their share of bother too, of course, but they are depicted as both inept and betraying Accio's confidence. Eventually the latter realizes he's a leftist too at heart. (He only adopted fascism because he wanted to be contrary.) This change in Accio comes almost in time to save Manrico from big trouble.

It took me a while to adjust to the shift in actors when Accio goes from early to late teens. No doubt Elio Germano was an inevitable choice for the older Accio because of his sweet, ironic presence: he's a lovely actor. But the younger actor, Vittorio Emanuele Propizio, and the incidents Accio's involved in early on, project a spirit of fun and craziness that I missed thereafter. In fact, the promise of the early sequences gets dissipated in what becomes an increasingly plodding (and overly telescoped) series of events as Accio's and Manrico's politics, love lives, and family involvements criss-cross over the years.

Reports from those who've read Antonio Pennacchi's amusingly titled novel 'Il fasciocommunista' say the movie lightens things up, but Sandro Petraglia and Stefano Rulli, who collaborated on the screen adaptation, seem to have gotten bogged down and too literally followed the story after those light-hearted and promising beginnings. Mind you, Petraglia and Rulli are no slouches: they also scripted the recent 'Criminal Romance' (veteran actor Michele Placido's 2005 directorial debut, which also features Scamarcio) as well as the highly successful theatrically released TV miniseries 'The Best of Youth,' whose decade-sweeping plot this film's somewhat echoes.

A memorable set piece shows Manrico introducing a '68 reworking of Beethovan's 'Ode to Joy' with revolutionary lyrics. During the performance Mario's fascist hooligans move in, and their targeting his own brother leads to Accio's final break with the right.

The family's base is Latina, a town created by Mussolini south of Rome, which makes an ever-present reminder of heavy Italian legacies. Mario represents the element who refuse to erase or forget the nation's fascist past. He argues (among other things) that there's a worthwhile legacy of architecture. Indeed fascist architecture does have a certain kitsch charm one ought not reject too easily; and an inability to come to terms with the fascist past is surely one of the main reasons for Italy's muddled self-image. This story is a stab at dealing with that psychological issue in a healthy way.

'My Brother Is an Only Child,' which was rejected by the Cannes jury for Official Entry status, lacks the fluidity of Gabriele Muccino's 'Io come te nessuno mai' (which, though very different, comes to mind for its blending of coming of age, family conflict, and politics) but it has a kind of vernacular vigor. It's true, Italian cinema continues to go through a largely lackluster period, and Italian film-goers appear to have been bitterly disappointed with Luchetti's latest. That's a bit of a shame, because there is a lot of charm and humanity here, and for anyone interested in Italy and its modern history, this should be required viewing.

Seen during a limited run in Paris, October 17, 2007.

The first 30 minutes or so made me hope for the best. Elio Germano is an actor with an extraordinary power to grab his audience and make us care, plus, the film seemed to move away from the (very good) book it is based on and go for the most engaging comedic aspects of the story. I knew it was too good to be true. Shortly after the film falls in a series of common places robbing us from the possibility to be surprised, engaged or even care. I wonder why it is that we - in Italy I mean - feel the need to visit the past though the same identical paths. To tell you the truth, I'm sick and tired of it. Can we tell stories that live out of its own strength. Politics, intellectual reflections without any, real, base on reality. We are known for protesting at a bar table, maybe go to a demonstration but at the end of the day we are going to do what we're told. Honestly or dishonestly. Could it be that, this relentless film revisions, is a tacit way to justify the fact that we've been so ineffectual in real life. We've been through everything and more but nothing has really changed. We're better identified by the Alberto Sordi characters like the one in "La Grande Guerra" by the great Mario Monicelli. My question is: If I, as an Italian, couldn't care less about the political mismatch of two Italian brothers, imagine the rest of the world. How confusing and ultimately annoying way to tell a story. There was a sort of uproar today, knowing that this film had not been selected for the official selection at the Cannes Film Fest. Hey, come on, think again. Why should it be? There is absolutely nothing new in it. Nothing! Riccardo Scamarcio continues to sleep walk through his film roles. He is beautiful but not nearly as magnetic as Elio Germano. I hope we'll wake up soon and realize that we won't change the past by revisiting it. That we are who we are and should look ahead to see what happens.

If you had the rare chance to see 'The Best Of Youth' a few years ago, and was dazzled by it's very well written screenplay, here's another feather for your cap. 'My Brother Is An Only Child' re-unites the writers of that fine film for another tale of sibling rivalry. It tells the tale of two upper class Italian brothers, one just liberated from seminary school, where he was kicked out for bad behavior,and decides to become a neo fascist. The other, a dedicated communist. The volatile mix of passion (and hard headed)of the two brothers make for a panorama of social change in Italy of the mid to late 1960's. This is a beautifully filmed,smartly acted & crisply directed film that's well worth seeking out.

Simply put, a very good movie. As somebody who lived through part of those years, I really appreciated the way it managed to recreate their social and political 'atmosphere'. Yes, it is not the first flick to deal with those topics, but hey, how many movies about WW2 have we seen so far? Was Flags of our Fathers less good for this reason? I particularly liked Accio's description of personal relationships between the brothers, as well as the intriguing political evolution. I thinks that Scamarcio's presence could also take a younger audience to this movie, something which would be very good as some stories are just worth remembering (I can't stand the "let's forget about it and move on towards modernity" approach; awfully dangerous for a civilized society). Back to the cinema factor, all actors fit well in their roles, although the Accio's sister was kind of lame at times. Zingaretti's performance as a hardcore fascist, on the other hand, was made even more intriguing by his close association with the ever-different character of Commissario Montalbano in the popular TV transpositions of Camilleri's novels (which by the way I strongly recommend to anyone interested in Italian written fiction).

I saw this last month at the Palm Springs International Film Festival. This is a good offering from Italy and director/writer Daniele Luchetti who co-wrote the screenplay with Sandro Petraglia and Stefano Rulli based on the semi-autobiographical novel Il Fasciocmunista by Antonio Pennacchi. The story takes us from 1962 to around 1977 and as it begins we follow Accio Benano (Vittorrio Emanuele Popizo) who is a scrappy little mischief-maker who loves to fight and ends up in a seminary to study for the priesthood. This falls through and he returns home to his mother and father and older sister and brother. They live in a small town that was created by WWII era fascist dictator Benito Mussolini. The family home and most others in town are falling apart and the community awaits long promised new government housing from the current series of governments but the housing that is already constructed sits unoccupied. The older Accio (Elio Germano) has grown into an even more mischievous and rebellious young man and through his friendship with Mario (Luca Zingaretti), a Mussalini sympathizer who longs for the old days he joins the local Fascist party. This is in direct contrast to his family who are communist sympathizers and Accio older, charismatic and handsome brother Manrico (Riccardo Scamarcio) has joined the local communist party and is involved in organizing workers at the factory where he works. Accio has an eye for Manrico's girlfriend Francesca (Diane Fleri) and Mario's wife Bella (Anna Bonaiuto) has a Mrs. Robinson kind of attraction to Accio. This is a drama with plenty of smart comedy. An excellent cast and director Luchetti get the most out of them. It's a simple story that never bogs down and keeps moving with good dialog interesting situations. I would give this an 8.0 out of 10 and recommend it.

I rushed to see this movie, with Elio Germano, perhaps the best Italian actor of his generation, and Riccardo Scamarcio, the heartthrob of the moment. I got upset about the rejection from the snobbish Cannes Festival and I wanted to see the film by myself. Now, after having seen it, unfortunately, I have to agree with the Cannes decision. The film is a tired rehash of other books/films/TV done indifferently and boringly with two saving graces: Elio Germano's and Angela Finocchiaro's performances. The rest is, quite frankly, unendurable. The film felt long, long, long and I got more and more impatient and eventually angry with the whole thing. The Italian cinema that once was a power force of inspiring themes and ideas seems to have arrived to a total dead stop. The artists, I feel, with something new to say, like Libero Di Rienzo - have you seen his "Sangue" with Elio Germano as well? No, I bet you haven't. It was released in secrecy and for my money, his movie had something new to say in a totally new exciting way. I fear we, in Italy, can't move forward because we're trapped in some king of structure that it's terrified of new ideas. As a consequence we have films like this one. A throw back to the past and not in a nice way. Cannes? Are you nuts?

The title was taken by a 70s song by Rino Gaetano, inexplicably missing from the soundtrack, full of the greatest tracks of Italian pop of those years though. The fingers by S. Petraglia and S. Rulli in the script are very strong. Four years ago Marco Tullio Giordana with The Best of youth (La meglio gioventù) came to birth their two-hands story about Italy between the 60s and the 2000s years, and some parallels can be found between this new script and the previous one, focusing Italy in the "boom" decade (1960s), until the middle '70s, digging and studying the political context with a typical love accentuation.

In those years the Christian-democratic party (DC) was the sole entity representing the nation. Nobody after De Gasperi had his charisma and his skills to continue his path. So, a lot of people found a good shelter in the extremist parties (communist, PCI or fascist, MSI). The two brothers here join those ideas, paying in the future years their terrible consequences (living from the inside the "lead years", the 70s as they're known in Italy for the miserable succession of criminal acts).

Elio Germano is stunning. He never picked prime roles, 'till now, and he showed absolutely good skills, as great was Scamarcio. He always played frivolous roles in teenagers' movies, but this time they gave him credit and he didn't disappointed even fussy viewers (like he didn't in Crime Novel or Texas). Two brothers taking two opposite ways in their lives, loving each others very much, but politically incompatible even when on the same side.

Scenes are often cut with sketches and jokes that lighten the tension of those rough political phrases (in both directions!), the violent segments and the plot. The ending is a memorable upside-down, touching and bittersweet, with an ultimate, definitive coming of age by Accio.

I hope it will do a great job at Cannes Film Festival in the -Un certain regard- section, and like La Meglio Gioventù it will win the top prize. It really deserve it.

I loved the movie and it made my cry at the end... It is a great story of a boy who tries to find his own thoughts and his own way to go through the life, grabbing at first the ideas of older friends, the party-like structures, then movements. And the constant question "how to act right way" comes at end answered - and so the movie gives a good argument that Italy is not only "talking at the bars, maybe coming at the streets, but never doing something".

In certain sense, very up-to-date movie and in certain sense very much sixties and seventies. I loved it, I recommend to everyone. Also, the camera-work and cut are more than enjoyable and I think that it represents somehow the visual trend of Italian cinema in the beginning of 21st century.

I used to love Italian films but lately they all seem to deal with the same issues in more or less the same ways. Trying to be politically relevant and forgetting what cinemas is all about. This tired tale of politics and family got me fidgeting on my seat after only a few minutes. I'm sure there were enough elements here for a satire of sorts or even better a heavy duty family drama but the film delivers neither. Elio Germano is a good actor and Riccardo Scamarcio has a good face but their characters are half cooked at best. The most climatic moment happens off camera and my frustration became audible in the theater. If I had known I would have stayed home to watch again an Elio Petri movie.

Saw this as part of the London Film Festival, and was expecting a belter. And how disappointed was I? VERY.

What could have been a very interesting look at how different political views can co-exist within the family instead descends into a series of disjointed rubbish with no real purpose and no explanation.

The central characters were introduced, but without much substance, and there were holes in the plot that you could have driven a double decker bus through. About 20 minutes too long, it actually had my husband snoring after an hour, that can't be good in the entertainment stakes, can it? With a denouement that comes out of nowhere, this left me feeling very disappointed and unsatisfied. All in all, a good idea, totally wasted.

The film follows two Italian brothers growing up in the 1960s and 70s. They both love the same girl but have very different political beliefs; Accio is a fascist, Manrico is a communist. Predictably the main themes are politics, romance and family. We see the brothers battling over their ideologies, relationships and their parents' attempts to guide them through their emergence into adulthood.

A very interesting story idea but it goes nowhere. It lacks depth, insights and fails to be believable. The film tells the story in a contrived, clichéd, predictable way and is ultimately cynical in the roles the characters are given and how they are expected to carry them out.