Winning is dominated the theme of the double: a reflection primarily, but also deformation. The film is divided chronologically into two already, and the youth of the relationship between Ida Dalser (Giovanna Mezzogiorno, good and intense as ever before) and Benito Mussolini (Filippo Timi, also excellent), and age of separation and loneliness. Stylistically, the first part has an almost dream-like pattern, reflecting the enchantment that Mussolini has on Ida: fascination, irrationality, falling in love, and photography dark and smoky and opaque Daniel Cyprus, often turning blue, is very effective in representing the bad magic that the future dictator exerts on the star. In the second hand, when Ida is abandoned and then interned in a mental hospital, the look of the film (and also of its main character) becomes more lucid, images are sharper but less saturated. Everything is more neutral, grayish.
There is then the contrast between the city, Milan (the film was actually filmed in Turin) and the province (Trento), and that between the two families of Mussolini (Ida Dalser on the one hand, Rachele Guidi other), but especially the frequent use of stock footage of the real Mussolini is another device for the creation of opposites: the "real" image Mussolini's first fiction in the reality of Fascism, in turn, is engaged in fiction film Bellocchio (based on events not completely cleared but the result of historical research, see http://it.wikipedia.org/ wiki / Ida_Dalser ) and contrasted the image of Benito Albino (always Filippo Timi) to turn a picture of a young father (Timi) ...
Here's the genius of the division of the Timi dual role of father and son, so the child becomes the mirror of his father, his first double-deformed imitation and then madness. And also the interpretation Mussolini's father is marked by hyperbole and distortion, and merciless mocking imitation of Mussolini's "official" and the mythology that the dictator had created around his figure. Even the permanence of Ida in various mental institutions where she was confined becomes a symbol: the woman is actually the only one who knew the truth about Mussolini and the hidden child, while all around her continue to deny reality and believe it crazy. She proudly polished, is one of the few people I know personally Mussolini: This also puts in a position to understand the nature of fascism, and thus be in conflict with its own system the terrible appearances. The madness has now infected the entire country and Ida, one of the few people bright and aware, is interned in a mental hospital.
short, it is difficult to escape from the labyrinth of mirrors Winning , but everything seems to suggest that the real Bellocchio's film is the personal story of Ida and Dalser Benito Albino Mussolini, nor the horrible disgrace made by the dictator in relation to their biological family: the story "small" and these people's personal history symbolizes "big" and miserable of a bigger family, the entire Italian population, fall into the crowds bewitching spell of Mussolini, deceived and betrayed, and then left to die just like Ida and Albino. And all this through the duplicity of the figure of Mussolini and fascism of all: a huge and terrible hoax, a deadly appearance in the bottom of which there are only madness and death.
Winning is a great movie, symbolic and full of humanity at the same time: the miracle which Marco Bellocchio, Italian director's largest in circulation, has now become accustomed, and yet after every movie still leaves the cinema hall as overwhelmed: by the sumptuous beauty of its images as the annihilating force of feelings and emotions told, you can not get rid of them, just like a spell.
