6/10
A little too coded, yet fundamentally predictable; lovely photography
18 April 2022
This film dimly reminds me of a Sartre novel about a very conservative man trying to compensate for his sexuality by brutal Fascist behavior. Certainly there is an arch suggestion here that the main character's fierce desire to be "normal" reflects his anxiety about his sexuality. But the way this is shown is far too ambivalent to be decisive. Much of what happens in the main body of the narrative is simultaneously convoluted (with various intello-political ideas tossed about) and essentially predictable. The end appears to make a decisive statement about Fascism and conformity, but... well, doesn't really. It's certainly a visually magnificent film, an early effort by Vittorio Storaro who would later direct photography on Apocalypse Now and the Last Emperor. In fact, some of the early shots may be the most profound comment on Fascism in the whole film. Otherwise as statement or story it's just a little too arty and roundabout.
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