My Brother Is An Only Child

A coming-of-age drama in which the fortunes of two brothers mirror those of a whole nation, this is an intelligent and provocative film from director Daniele Luchetti and her screenwriting team of Sandro Petraglia and Stefano Rulli. The film is based in the Italian provincial town of Latina during the turmoil of post war reconstruction in the Sixties and early Seventies, set against a backdrop of Vietnam, the international revolutions of 1968 and the continuing spectre of the Cold War. Adapted from Antonio Pennacchi's semi-autobiographical novel Il Fasciocomunista, the film is an ambitious attempt to depict the battle for Italy’s soul at this critical juncture in the 20th century by following the fluctuating fortunes of two brothers from the Benassi family as they struggle through the challenges of youth, passion and politics.

The ultimate symbol of this internal struggle is shown in the schism between the brothers. Manrico (Riccardo Scarmarcio) adopts his parents’ Communist sympathies and takes them in increasingly radical directions. His younger brother Accio (Elio Germano), influenced by the radical patriotism of local market trader, Mario Nastri (Luca Zingaretti), gains membership to the opposite end of the political compass, fascism. This provides an outlet for his frustrations and rebellious desires, whilst simultaneously allowing the director to confront the spectre of Italy’s past and its continuing reactionary influence. The focus may be the Sixties, but the implications of the film’s ideological debate run right through to the present day.

The majority of the story is told from the perspective of the younger sibling, who feels constantly in the shadow of the suave, charismatic Manrico, whose passion and charm make him an instant hit with the ladies. Accio, by contrast, is reserved and uncomfortable around women, a situation compounded when he falls in love with Manrico’s girlfriend, the beguiling Francesca (Diane Fleri). It is the ensuing love triangle that provides many of the film’s best moments, offering an inciteful take on the complexities of loyalties, friendships and relationships, familial and otherwise.

The performances of the leads is convincing throughout, as is the intelligent and well-observed script, which maintains a sense of proportion at all times, balancing the moments of drama and tragedy with humour and warmth. Luchetti never allows the ideological debate to overwhelm the human drama, thus ensuring that the characters can develop as individuals rather than stereotypes. This is especially important for Accio, whose awakening and development throughout the film comes to embody that of his country. His flirtations with different political ideals and relationships gradually allow him to gain a sense of balance and perspective, so obviously lacking in his younger self and this growing maturity is indicative of the film’s underlying (albeit guarded) optimism regarding its homeland.

Occasionally the links between the family and the nation feel a little forced, but most of the time they are beautifully subtle and well-crafted. See, for example, the continuing theme concerning the Benassi family awaiting the much-vaunted council housing, which never seems to materialise, while their home continues to fall apart around their ears, ingeniously reflecting Italy’s worsening socio-economic climate in the face of broken promises and failed politics. This storyline is cleverly resolved at the end, though one cannot help but feel that its abrupt and sudden nature lacks a finality, which seems to undermine the optimism of this resolution.

To those for whom the very mention of the word “politics” instantly induces a state of narcolepsy, or a burning desire to leave the room, fear not. Whilst it might be helpful to have an interest in history and politics to grasp the finer points of the storyline, it is by no means a prerequisite for enjoying the film, since it is as much concerned with the rivalries, tensions and drama generated by the Benassi siblings as with how their lives relate to the wider historical context.

Despite the subject matter this is, for the most part, an uplifting coming-of-age drama, which never becomes mired in debate, whilst its well-crafted dialogue and impressive performances make it thoroughly enjoyable and thought-provoking, even for those with no knowledge, or interest, in politics.