Director:
Marco Tullio Giordana
Starring:
Luigi Lo Cascio
Alessio Boni
Adriana Asti
Sonia Bergmasco
Fabrizio Gifuni
Jasmine Trinca
Camilla Filippi
Release: N/A
IMDb
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The Best of Youth
BY: DAVID L. BLAYLOCK
Not since Ettore Scola presented a commanding and seemingly
complete analysis of post-World War II Italy in We All Loved Each Other So
Much, has an Italian filmmaker said so much about the country that has seen
more examples of fascism, communism, despotism, and terrorism in the last 75 years than
any other Western democracy. Scola’s impression upon the Italian people to
consider their own renunciation of the leftist Resistance fighters who ended
Mussolini’s control was amazingly complex and concise. His characters and
their move from Marxist ideals to bourgeois comfort came as a thesis on the
Italian complacency of the 1970s.
Equally as complex, and, though over six hours in duration, just as concise,
The Best of Youth picks up where Scola stopped. Director Marco Tullio
Giordana contemplates the next generation, those who took part in the social
upheaval in the 1960s and then fell into baby-boomer-like contentment
through their own social vices. The central characters are brothers Matteo (Boni)
and Nicola Carati (Lo Cascio), and the film begins with their decision to
travel following college exams. They are the prototypical ‘60s youth,
glorifying the fraternal/communal atmosphere of a Europe preparing to disown
the years of De Gaulle, Adenauer, and Andreotti rule. These are the
outward-bound equivalents of Bertolucci’s The Dreamers, and their passion
for the cause is muddled by youthful pleasures and the impractical whims
that take over them.
When Matteo fails in an attempt to save a young woman from the government-accepted electroshock therapy, he breaks away from the leftist theories
Nicola continues to support. As Matteo walls himself from the rest of the
family by becoming part of the government’s machinery -- a police officer
often sent to keep the piece during leftist riots -- Nicola becomes part of
the national enemy, a Marxist whose academic cause blinds him of the
impending presence of the terrorist Red Brigade. Only when his wife Giulia (Bergamasco)
begins to rationalize the utlra-Marxist terrorism that lead to the death of Moro, does
Nicola begin to recline into the middle-class lifestyle the rest of the film
affirms.
More than Scola, Giordana isn’t welling up so much agitation at a changed
generation. His is a more melodramatic story, one that’s languidly told like
a family tome (think Gabriel García Márquez’s One Hundred Years of Solitude
with less mysticism and more good humor). The Best of Youth offers the
generations of the Carati family and their friends with an intimacy earned
by hours of character development. Originally created as a TV miniseries,
the pacing of the work is allowed to freely coalesce with the historicism it
documents.
Michael Camino’s The Deer Hunter worked on a similar plane, though its three
hours only felt like six. Here the six hours (divided into two parts with an
intermission) breeze by, and when the finale comes with some of the most
well-earned machinations I’ve ever seen in a narrative film, the impression
is that we’ve only spent a couple hours listening to a proud old man
reminiscing over the intentions of his youth, the disappointments of his
aging, and the succeeding generations who are now reliving the cycle all
over again.
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