MY BROTHER IS AN ONLY CHILD

Italy, 2007, 103 minutes, Colour.
Elio Giormano, Ricardo Scarmarcio, Angela Finocchiaro, Massimo Popolizio, Diane Fleri, Luca Zingaretti, Anna Bonaiuto.
Directed by Daniele Luchetti.

In the early 1960s, a number of Italian directors, some of them soon to be big names like Bolognini and Pasolini, made films about disaffected young men in and around Rome (Il Bell’ Antonio, Accatone). This was the non-dolce vita Roman experience of the times. These directors were the inheritors of the neo-realistic style of the post war period but which delved into the poverty, the politics, the sordidness of the lives of the people they portrayed. These films serve as a contemporary mirror of the times.

Forty years later, Italian directors are still fascinated by stories and characters from these backgrounds. This is certainly true of Daniele Luchetti’s film My Brother is an Only Child. It was co-written by a prolific team, Stefano Rulli and Sandro Petraglia whose impressive credits include The Best of Youth, Rosi’s La Tregua and two strong films for Gianni Amelio, Il Ladro di Bambini and Le Chiavi di Casa). This film has proven popular at the Italian box-office.

It opens in 1962 (actually the year that the Second Vatican Council opened). It has a church and anti-church beginning typical of the times: the younger brother goes to a junior seminary, his parents proud of him and happy to have a priest in the family; his older brother is opposed, taunts him, leaves him a photo of an actress and the teenager recognises he will have sexuality problems and leaves the seminary. Apart from holy pictures on walls, that is the end of the presence of the Church in these young men’s lives.

What inspires one is the Communist party, Italian style, full of sound and fury but idealistically wanting to signify something – brought to a head in the film in the student revolutions of 1968 and a scene of the occupation of the Rome conservatory and a performance of Beethoven’s Song of Joy with new lyrics which begin with, ‘Mao, Lenin, Stalin…’. That is the path of the older brother who works in a factory, develops skills as a political demagogue, has a girlfriend from a wealthy family in Turin but who gets caught up in the struggle, letting it consume his life at the expense of family.

What initially inspires the younger brother after his return home and his continual fights with mother, sister and older brother is a Fascist friend who fills his imagination with Right-wing enthusiasm. He joins the party and absorbs the ideology.

Luchetti has the advantage of two very strong emerging young actors to embody these characters and their political and emotional conflicts: Elio Germano as the younger, Riccardo Scarmarcio as the older.

Luchetti has remarked that this story contributes to the general Italian biography, the life of Italy (or, at least Rome and Lazio) during the changes of the 1960s and the early 1970s. He says that the film does not take a political stand: it shows people who take stands – ‘I believe this was my key, finding the human element which is personal and emotional at the core’.

The characters can be both irritating and frustrating for the audience – and that is one of the strengths of the film. The other is the strong drawing of the supporting characters, the boys’ angry mother, especially her outburst at the corruption that has prevented poorer families from moving into government build housing; the kindly father, the sympathetic girlfriend of the older brother; the local Fascist and his wife who initiates the young man.

Audiences who are familiar with 20th century Italian history will find the film an emotional story that will remind them of Italy’s political and social change. The film ends just as the neo-terrorist groups are beginning their attacks.

1.The impact of this film for Italian audiences? Wider? Italian history, character, issues, spirit?

2.The time span from the early 60s to the mid-1970s? Lazio, Rome, Latina, Turin, the use of the authentic locations, the homes, the streets? The university? The world of the poor? Centres of cities? The political world? The musical score?

3.The title, the irony? The story of Accio and his attitude towards Manrico?

4.The political background, the elections of the 1960s, the Christian Democrats and their victories, the Communist Party, the fascists? Europe and the changes in the 1960s, revolution, the students, culminating in 1968?

5.The religious seminary, the priest, having a priest in the family, Accio being earnest, Manrico bringing the picture to disturb him, to make him change his mind, sex experience, the priests, his leaving? Leaving go of his piety? His piety shallow?

6.Accio as a boy, in the seminary, the seminary life, with Manrico, his relationship with his parents, his mother always being upset? His brother taunting him? In trouble? School? The poor, their house? His being befriended by Mario the bus driver, his fascist indoctrination, the history of the fascists, the comments on Mussolini? Accio and his decision to join the fascists? His arrival, the reception, attitude? His stances, rebellion? His adolescence, the effect on him? Manrico’s influence? His meeting Francesca, infatuated by her, his confusion?

7.Manrico, older, his talents, speeches? Work in the factory? Communist background, the Communist Party, social concerns, his relationship with Francesca, going into action, violence, his reaction to Francesca’s pregnancy?

8.The transition to 1968, the conservatorium, the music, playing Beethoven, the changing of the lyrics of the Ninth Symphony to communist words? The fascist reaction, the young men coming in, the riot?

9.Accio and his relationship with Mario’s wife while Mario was in prison, the talk, friendship, sexual experience, his breaking off with her, her reaction? Mario’s attack on Accio when he came out of jail?

10.The transition to the 70s, the differences, Manrico going to Turin, disappearance for years? Francesca and her child in Turin? His parents’ life during these years?

11.The housing issue, corrupt officials, the poor not getting their apartments, the decision to take a stand, Accio and his attack, his mother’s dramatic outburst? The impact of the new house?

12.Turin, Manrico, his being set up, the chase, Manrico being shot, Francesca being taken away? His being left with the baby?

13.Francesca, her background, wealthy, love for Manrico, her interactions with Accio, her child, entrusting the child to Accio?

14.Accio as older, wiser, looking after the child, return home, welcome into the family? A new start?

15.The retrospective from the 21st century? The 20th century Italian experience, post-World War Two, politics, social concerns, education, the church? A glimpse of the Italian psyche?