organization Art Promotion

In the name of the Father


Italia – 1971 – 35mm – color – 105’


Direction: Marco Bellocchio

Screenplay: Marco Bellocchio

Photography: Franco Di Giacomo

Editing: Franco Arcalli

Set design: Amedeo Fago

Music: Nicola Piovani

Costumes: Enrico Job

Cast: Yves Beneyton, Renato Scarpa, Laura Betti, Aldo Sassi, Lou Castel, Piero Vida, Gérard Boucaron, Marco Romizi, Edoardo Torricella, Livio Galassi, Christian Aligny, Rossano Jalenti, Ghigo Alberani, Tino Maestroni, Gisella Burinato, Luisa Di Gaetano, Claudio Besestri, Orazio Stracuzzi, Gianni Schicchi, Marino Cenna, Simone Carella, Guerrino Crivello

Producer: Franco Cristaldi

Production: Vides Cinematografica



The loud sequence of a penitential singing and images of the environment place the story in a luxury boarding school, school year 1958-1959. There was closed in Angelo Transeunti for having returned to his father kicks and slaps and extremely heavy insults. The character remains consistent with all circumstances: a theoretician of the Superman, a Hitlerian rough copy, he exploits his companions, expels the mean prefect Diotaiuti, induces one of his companions to kill his hysterical and scold mother; while another commits suicide, he turns the boarding school upside down; dressed up as a dog he goes around the place carrying on his shoulders the corpse of a priest, the professor Matematicus; he expresses his contempt for the attendants, a patchwork of wrecks of the society who suffer in the boarding school the extreme exploitation understood as Christian charity and redemption…



“(…) Every shot seems to come out from a picture of the German Renaissance painting and to configure itself as the Dürer’s Allegorical painting: a boarding school that looks like a mental hospital divided into social classes; grotesque figures with emblematic names (Corazza, Diotaiuti, Salvatore); a young bourgeois who walks with his head held high and with his fists in the pockets and who instigates revolution. Bellocchio transfigures figures and icons of the Catholic culture through the impetus of the modern German culture, which is present on several occasions in the form of various figurations (from Goethe to Nietzsche, from Brecht to the Nazi iconography), and by the combination he builds an aggressive political project (each institution – Catholic, educational, familial – is a fascism, a superstition based on fear), but failing and intended to make the “lesson” of Transeunti a revolution for lunatics. (…)” (Edoardo Becattini,



1971 New York FF