METELLO
Italy, 1970, 105 minutes, Colour.
Massimo Ranieri, Ottavia Piccioli, Tina Aumont.
Directed by Mauro Bolognini.
Metello is a fine film from Italian director, Mauro Bolognini. It is based on a novel by noted writer, Vasco Pratolini. Metello succeeds in its vivid and frequently beautiful re-creation of Florence at the turn of the century. In muted colours, the city and the river are continually there, enveloping the audience in their moods and atmosphere. It is not the Florence of the Duomo and the panorama from the surrounding hills. Rather, it is the Florence of the orange buildings, the river flats and the workers.
Metello is a political film, and a successful one. Immersed as we are in the life of the working man's Florence, we share the feelings of the builder's labourers, their hard work, poor conditions and lack of regard by the employers, even those who have come up through the ranks of the labourers. Prison is an ever-present reality for Metello's anarchist father, for himself and his friends who espouse Marxist cause and ideas to win their case. A long, telling strike is the centre of the second half of the film and the victory of the workers, not without bloodshed, riots and more imprisonment.
The third success of Metello is in its presentation of its characters, and here the film comes through as a human experience rather than industrial or political propaganda. Metello himself, excellently played by Massimo Ranieri, is a young man of his times, with goals and ideals as well as weaknesses and lack of character. The other roles are played with restraint, rather than heavy Italian emotions. A moving and enjoyable experience with a social conscience.
1. This film was hailed by many critics as a masterpiece, beautifully presented as a human document about real people. Do you agree?
2. How did the visual presentation of Florence, the city, people, costumes, manners, impress you? How did they contribute to the feeling of the film and your appreciation of its issues? ,
3. Did the film itself preach ideology? Do you think the director followed any ideological beliefs?
4. How moving was the sequence of Metello's father coming out of prison, his immediate social concern and neglect of his wife? Did the cause demand such dedication?
5. How was Italy socially situated in 1900? Comment on the social unrest, anarchist protests, the need for emigration.
6. Did you like Metello? was he a good man? A good worker, naive? Why did he take up with Viola? What comment on Italian society and morals did this sequence make?
7. What did he learn during his national service? Did it give him experience for his work and political involvement?
8. Why did the police attack the funeral? Why did the workers riot?
9. How well did the film convey the love between Metello and Ersilia during the prison years - the women calling out to the prisoners, the letters.
10. Comment on Metello's marriage to Ersilia, the child and settling down. Was this a good picture of the style and quality of the period?
11. How did Idina affect their lives - her chatter, well-to-do status, affair with Metello? Why did he have the affair with her?
12. How did Olindo affect their lives - sharing their house, a moderating influence- at work?
13. Did you sympathise with Metello's political and industrial stands? Did the workers have a just case? Were the employers unjust - even those who had worked their way up from labouring? What role did Del Buono play?
14. Was the strike justified? Did it bring home to you the reality and hardships of a strike, the need of moral courage?
15. How was Metello's infidelity to Ersilia linked with his failure to be present at a crucial meeting to influence the workers?
16. Did you understand the final clash of employers and employees?
17. Why did Ersilia forgive Metello? Did he deserve it?
18. What was the significance of repeating the opening sequence with Metello coming out of prison as his father had done? Should he have continued with his political activity? What future did you see for Metello and Ersilia? Why?
