Public Life, Imaginary, and Identity in Contemporary Italian Film
Edited By Giancarlo Lombardi and Christian Uva
Gius Gargiulo - Mario Martone’s Noi credevamo: History and Fiction
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Still capture from Noi credevamo, by Mario Martone (Palomar S.p.A., Les Films d’Ici, Rai Cinema, Rai Fiction, Arte France Cinéma, Feltrinelli)
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Mario Martone’s Noi credevamo: History and Fiction
The 2010 Italian film Noi credevamo directed by Mario Martone1 is an adaptation of Anna Banti’s eponymous 1967 novel. The film was nominated for the Golden Lion at the 67th Venice International Film Festival. On the advent of the 150th anniversary of the Unification of Italy, both the novel and the film endeavour to tell a complex, contradictory, and lesser known history of the Italian Risorgimento that interpret the founding events of the Italian unification and their impact on national identity in light of recent history. Our aim here is to reflect, informed by the ideological and creative vision of the director, on the representation of the history of Risorgimento and the shift from the novel to its cinematic adaptation.
Banti’s book pivots on the memories of the septuagenarian Domenico Lopresti, one of her ancestors, a gentleman from Calabria who, throughout the narrative, becomes the symbol of the uncompromising solitude of the revolutionary Mazzinian.2 During twelve years of imprisonment by the Bourbonians, Lopresti refuses to compromise with the reactionary power and chooses to share in the unhappy condition of his cellmates, both nobles and ← 341 | 342 → peasants. The memory of imprisonment constitutes the core of the novel,...
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