Mauro Bolognini
Metello

THE REVIEW

"Metello", the literary work by Vasco Pratolini, certainly cannot be placed alongside the great masterpieces of his contemporaries; Fenoglio, Calvino, and so on: all people who, potentially, surpass Pratolini. Yet, perhaps exactly because Pratolini did not talk about the partisan and war experience but instead about what happened during the Historical Left/Giolitti II government period, "Metello" remains one of the most fascinating facets of the history of our country. The same atmospheres survive in exhibitions on the Macchiaioli or, for the older generations, in the stories told by our grandparents.

But here we are not talking about the book: we are talking about the film. Let's start from the premise that the cast is really good and promising: Ottavia Piccolo won numerous awards for this film, just as her "partner" achieved great success—none other than Massimo Ranieri. Perhaps a somewhat too mainstream face to portray a character like Metello, but one must tip their hat to the professionalism with which the singer dedicates himself to the Tuscan accent, essential to recreate the atmosphere of this story set in Florence.

Indeed, it is the story of a young bricklayer who divides his life between political struggles and family life (in the broad sense..). The meticulous and fascinating reconstruction that the book offers of the political nuances within the red spectrum of those years unfortunately survives only in part in the film. In general, regarding this and other aspects that we will soon discuss, the film turns out to be quite reductive and less charged with pathos. Without giving away too many spoilers, let's briefly outline the plot, explaining that Metello marries Ersilia but falls for the temptation of his beautiful neighbor Ida, all during the days of an important general strike. So, amidst love torments, declarations of strength and independence, wavering, quarrels, and a bit of tough living, the strike does not proceed in the best way and the final victory comes at a high price.

The plot is constructed faithfully, and upon close analysis, it reconstructs all—or almost all—of the messages that the book intended to convey. That subtle thread linking anarchists and socialists is well portrayed, as is the story of a political era in which Marx was virtually unknown. Metello believes in the ideal, but swears to his wife that he will never devote himself to it again in order not to disturb the family's peace. Yet, in the heart of a worker whose reason places the family before moral and social justice, something is stirred: not even he believes in his own promise.

The fact is that the film does not convey the pathos of the book. The story of the strike, for example, in the book is something grand, where the souls of simple workers are uplifted towards a dramatic narrative that leaves you breathless, wondering how the strike will end. There is little of this in the film. This does not mean it is a bad film, even if some choices in cinematography might be criticized (although others, such as the views of Florence, are very beautiful).

What enriches the film (which, I repeat, falls short compared to the book but remains a good and important movie) is the soundtrack by Ennio Morricone, who inserts some truly notable themes that accompany scenes that would otherwise be rather dull.

I would recommend this film to lovers of such topics; others may skip it. Rating: 75/100.