Long Night In 1943 1960 ITA SUB ENG DVDRip x264 torrent

Year: 1960

Country: Italy

Director: Florestano Vancini

Cast: Belinda Lee, Gabriele Ferzetti, Enrico Maria Salerno, Gino Cervi

IMBD: Link
Language : Italian

Subtitles : English


The films of the neorealist revival seem to hang on to the narrative of good Italians and yet also to lose faith in it, almost acknowledging their own hypocrisy. A notable exception is La Lunga Notte del ’43, which is the most honest and complex film of the period and the one most intimately concerned with the relationship between Fascism and Italians. Vancini’s film also distinguishes itself aesthetically from its contemporaries, blending the long shots and sparse editing of Visconti’s neorealist films with the carefully framed shots of Michelangelo Antonioni’s work, particularly in relation to contextualising the individual as isolated within his or her surroundings. Compared with most of its contemporaries, La Lunga Notte del ’43 stands out because, both stylistically and thematically, it does not feel like a faux-neorealist film, trying to recapture a moment that has passed. Rather, Vancini produced a daunting and uncompromising exploration of his own, which is grounded in the cultural environment of the Economic Miracle but already foreshadows many of the themes of the post-1968 generation.
Adapting a short story by Giorgio Bassani, the author of the much-celebrated Il Giardino dei Finzi-Contini, Vancini and Pier Paolo Pasolini co-wrote a script that introduces new elements to the representation of Fascism, especially in regard to the relationship between politics and the individual. The filmmakers’ scrutiny of individual psychological processes and of bourgeois frustrations, of alienation, of the hypocrisy of marriage and society, all place the film alongside the works of Antonioni, Visconti and European New Wave directors like Robert Bresson and Ján Kadár. In the same vein, the film merges these concerns with an analysis of trauma and totalitarian societies, which prefigures the 1970s efforts of directors like Bernardo Bertolucci, Liliana Cavani and Louis Malle.
La Lunga Notte del ’43 is set in Ferrara in the months after Italy’s Armistice and tells the story of a couple’s marital crisis against the background of the establishment of the Republic of Salò and the rise to power of local Fascist Carlo Aretusi, known as Sciagura (Calamity). As the reinstated Fascists become increasingly violent, Anna Barilari begins a relationship with her old friend Mario Villari to escape the frustrations of her marriage to Pino, who is wheelchair-bound, depressed and a keen observer of life outside his bedroom window. War quickly encroaches on Anna and Franco’s bliss: after the first raid on young men of military age, the relationship sours, politics creeps in, choices become unavoidable. Anna, who appears to have no interest in politics (‘there’s Jew Süss [Veit Harlan’s 1940 anti-Semitic drama] at the Nuovo [Cinema],’ she says non chalantly), asks Franco to join the ranks of the repubblichini so that he may remain with her. Franco heeds neither her requests nor the openly anti-Fascist teachings of his father, until Aretusi kills the latter in cold blood. Meanwhile, Anna’s husband Pino, who dislikes the Fascists, collaborates with them because he is angry about his wife’s affair. Each reacts to violence in different ways: she closes up, finds it a reason to concentrate on the self; others react gregariously and politically. Subordinating politics to individualism, however, is not the way forward for Vancini, but the path to self-destruction.
In this context, Fascist violence is ample and gratuitous, against Jews and anti-Fascists but also against young men of military age and even within the Fascist ranks. In a noticeable challenge to the postwar orthodoxy, the Fascists are neither foolish nor funny, and the Resistance is barely mentioned. And, as the audience eventually finds out, violence and politics underpin the film’s premise: Pino Barilari’s disability is not the result of a war wound, as one might assume, but the consequence of syphilis contracted in 1922 on the way back from the March on Rome, from a prostitute he was forced to have sex with at gun point by none other than Aretusi, his band’s leader. Pino’s disability is thus symbolic: he has been emasculated by an act of sexual aggression and he has been punished for his early Fascist sympathies.
There is no hero here, and no catharsis, either individual or collective. Unlike any of its contemporaries, La Lunga Notte del ’43 is framed by uncompromising critiques of Italian attitudes towards Fascism, accommodating in its heyday, largely subservient in the dark days and deliberately forgetful in the postwar years. At one end of the film, the credits take us through the war from its declaration to the Armistice, juxtaposing Fascist rhetoric with Italy’s worst defeats – ‘Italian soldiers on the Don cover themselves with glory’; ‘only one certainty: we shall return to Africa’ – and emphasising the crowds cheering at all turns. At the other end, the film’s postwar epilogue renders explicit Vancini’s long-term disillusionment at the persistence of Fascist elements within society, at widespread amnesia and at the convenient hypocrisy of collective closure. In the film’s chilling ending, which Vancini had to fight his own producers to retain, Franco Villani returns home in 1955 with his Swiss family to look at the plaque commemorating his anti-Fascist father’s murder, only to find Aretusi, his murderer, still living happily and holding forth in the same bar where he had strutted his Fascist stuff ten years earlier. ‘He is a nobody [un poveraccio], I don’t think he has ever harmed anyone,’ are Mario’s final words as the plaque remembering his father and ten other victims fades in the background. This is a slap in the face of the narrative of hope and resignation prevalent in much postwar memory of Fascism and neatly contained in the metaphor of a long night that has to pass, often borrowed from Eduardo De Filippo’s 1945 play Napoli Milionaria. But at dawn in Vancini’s Italy the murderers are still among us, along with Coca-Cola, American cars and the national football team. (Giacomo Lichtner)

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Date: Sat, 25 Apr 2026 21:08:26 +0200

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[ Edition entry ]
UID: 607170315

Hidden: No

Selected by default: Yes

Playlist: No

Chapters:

00:00:00,000-00:08:53,880: Chapter 1 {eng}

00:08:53,880-00:14:39,880: Chapter 2 {eng}

00:14:39,880-00:20:50,120: Chapter 3 {eng}

00:20:50,120-00:32:35,240: Chapter 4 {eng}

00:32:35,240-00:39:06,440: Chapter 5 {eng}

00:39:06,440-00:44:14,440: Chapter 6 {eng}

00:44:14,440-00:50:36,520: Chapter 7 {eng}

00:50:36,520-00:55:51,880: Chapter 8 {eng}

00:55:51,880-01:04:10,360: Chapter 9 {eng}

01:04:10,360-01:09:34,520: Chapter 10 {eng}

01:09:34,520-01:15:56,000: Chapter 11 {eng}

01:15:56,000-01:22:14,360: Chapter 12 {eng}

01:22:14,360-01:28:11,840: Chapter 13 {eng}

01:28:11,840-01:31:56,400: Chapter 14 {eng}

01:31:56,400-01:40:54,840: Chapter 15 {eng}
This report was created by AVInaptic (01-11-2020) on 28-04-2026 02:49:29