CINEMA, SOUL IN THE EYES
organization Art Promotion

Victory March

 

Italia, Francia, Germania – 1976 – 35mm – colore – 125’

 

Direction: Marco Bellocchio

Treatment: Marco Bellocchio

Screenplay: Marco Bellocchio, Sergio Bazzini, Peter Berling

Photography: Franco Di Giacomo

Editing: Sergio Montanari

Set Design: Amedeo Fago

Costumes: Mario Carlini

Musics: Nicola Piovani, dirette da Gianfranco Plenizio. La canzone Sabato pomeriggio (Baglioni-Coggio) cantata da Claudio Baglioni

Cast: Michele Placido, Franco Nero, Miou-Miou, Patrick Dewaere, Nino Bignamini, Alessandro Haber, Piero Vida, Ekkehardt Belle, Flavio Andreini, Gisela Hahn, Vittorio Fanfoni

Producer: Silvio Clementelli

Production: Clesi Cinematografica, Renn Productions, Agence Mediterraneenne de Location de Film, Lisa Film Gmbh

Distribution: Cineriz – Mgm Home Entertainment (Gli Scudi)

 

SYNOPSIS

The soldier Paolo Passeri, with aLetters degree, in spite of the several applications sent to enter the Academy Officers, is forced to perform the twelve months of military service in ‘Setvago’ Reggian barracks, directed by captain Asciutto. The young man, shy and distinguished by nature, feels uneasy with the instructors, corporals and sergeants with loud voice, as well as with the gang of the seniors who in a short time make him the object of any possible joke. Captain Asciutto in his turn, comes to grips with a galloping neurosis due, not only to his military conception, which should turn dolls into ‘true men’, but also to the whims and vices of his young wife Rossana. Having chosen Passeri as his favourite and guinea-pig, the captain brutalises him and in this way he wins his friendship. Paolo becomes the confident of his superior, his spy and then his wife’s lover.

 

CRITICAL NOTES

“(…) It is important that Bellocchio, as he writes the film and realizes its staging, doesn’t take the side of any of his protagonists, being pleased to look them from the inside and to consider them as part of a debate about reality in general. This confirms that the work is defined in its dialectical psychology much more than in the demystification of militarism. Victory March is also an analysis of the bellicose ideology that often continues to lead the life on the military barracks, but it is mostly a dramatization of the relationship between authority and obedience, of the challenge between the strong and the weak which is implied in every “Yes, sir.” It is the cross portrait, set in the military barracks due to surplus of expressiveness, of two neuroses in which there are expressed the pleasure of self-destruction, through the charity’s rejection, and the urgency to assert one’s freedom by destroying each father figure. (…)” (Giovanni Grazzini, Il Corriere della Sera)

 

AWARDS

1976 David di Donatello: Special Award to Michele Placido

1976 Silver Ribbons: Best Actor