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Mussolini: Son of the Century Review

1,016 words, 5 minutes read time.

Introduction: Understanding Italian Fascism

Mussolini: Son of the Century is an audacious exploration of Benito Mussolini’s ascent to power. It is immersive and masterfully directed by Joe Wright. This eight-part series delves deep into the intricate tapestry of early 20th-century Italian politics. It offers viewers a visceral experience. The experience is both enlightening and unsettling.

To fully grasp the significance of the series, it is essential to understand the historical context of Italian Fascism. Fascism was born in the post-World War I turmoil. It emerged as a response to economic instability, social unrest, and the perceived failure of liberal democracy. Mussolini, once a socialist journalist, founded the Fascist movement in 1919, promising national rejuvenation, expansion, and authoritarian stability. The movement rapidly gained traction by exploiting fears of communism and capitalizing on nationalist sentiment.

A Visually Striking and Modernist Interpretation of Italian Fascism

The series distinguishes itself through a striking visual style. It also features a pulsating soundtrack. Together, they evoke the essence of Modernist Italian Fascism. The deliberate use of rapid cuts and dynamic camera movements sets the scene. A techno-infused score adds to this, creating an atmosphere reminiscent of the Futurist movement. This movement celebrated speed, technology, and industrialism. This aesthetic choice immerses the audience in the era’s zeitgeist. It also underscores the allure and danger inherent in Fascist ideology.

Mussolini as the Sole Narrator: An Exercise in Subjectivity

A compelling aspect of the series is its narrative structure. Mussolini, portrayed with uncanny precision by Luca Marinelli, serves as the primary narrator. This approach offers an intimate glimpse into his psyche, ambitions, and justifications. By presenting events from Mussolini’s perspective, the series engages viewers with the seductive nature of his rhetoric. It also challenges them to understand the charismatic pull he exerted on the masses. This narrative choice aligns with the show’s emphasis on “showing” rather than “telling.” It allows audiences to witness the unfolding of history through the dictator’s eyes.

The Role of Luca Marinelli: An Astonishing Performance

Marinelli dominates the screen in nearly every frame of the eight-hour series. He delivers a performance reminiscent of Robert De Niro in Raging Bull. His embodiment of Mussolini is uncanny. This is not just in physical resemblance. It is also in his ability to capture the Italian leader’s gestures, speech patterns, and volatile moods. Marinelli’s Mussolini is both magnetic and repellent, a study in contradictions. He oscillates between calculated intellect and explosive rage, between moments of introspection and primal brutality. This interpretation forces the audience into an uncomfortable position. They are drawn into his charisma. Simultaneously, they recoil from his actions.

The Changing Social Basis of Fascism

The series effectively portrays how the social composition of Mussolini’s support base evolved over time. Fascism initially relied on disgruntled veterans, nationalists, and radicalized workers. Gradually, it found its strongest backing among the lower middle class—shopkeepers, small business owners, and bureaucrats. This shift was crucial in cementing Fascism’s institutional support, as these groups sought stability and protection from socialist movements. By showing this transition, the series demonstrates that Mussolini’s appeal expanded beyond his early revolutionary rhetoric. It reached a broader base of economic self-interest.

The Allure and Horror of Violence

The portrayal of violence in Mussolini: Son of the Century is both graphic and unflinching. Scenes of brutality committed by the Blackshirts are depicted with a raw intensity that is likely to disturb viewers. However, it’s crucial to recognize that such depictions also illustrate violence’s seductive allure. This allure held power for some during this tumultuous period. In the context of early 20th-century Italian politics, violence was a means of asserting power. It was not merely a tool of oppression. It also served to instill unity among followers. The series adeptly captures this duality, prompting viewers to think about the complex interplay between violence and ideology.

Mussolini’s Capitulation to Capitalism

One of the most significant themes depicted in the series is Mussolini’s pragmatic but ultimately self-defeating embrace of capitalism. Initially, Mussolini positioned himself as an anti-establishment revolutionary, promising to dismantle old power structures, including financial elites. Yet, as his movement grew and he consolidated power, he increasingly aligned himself with industrialists and conservative elites. He abandoned his early socialist leanings, favouring policies that bolstered Italy’s capitalist class in exchange for their support. This shift is portrayed with great precision. The series shows that Mussolini relied on corporate backers. This reliance ultimately trapped him in the economic structures he once vowed to upend.

Mussolini’s Reversal on the Catholic Church

Another striking element of the series is how it portrays Mussolini’s relationship with the Catholic Church. Initially a staunch secularist and critic of organized religion, Mussolini later recognized the strategic necessity of appeasing the Vatican. The series highlights the gradual shift in his rhetoric and policy. This shift culminates in the Lateran Treaty of 1929. The treaty granted the Vatican sovereignty and declared Catholicism the state religion of Italy. This capitulation was a calculated move. It aimed to solidify his regime’s legitimacy. Mussolini demonstrated a willingness to abandon ideological consistency. He favored political survival.

Conclusion: The Danger of the Rock Star Dictator

Mussolini: Son of the Century is more than a historical drama. It carries the risk of portraying Mussolini as a rock star. He becomes a rebellious anti-hero with whom audiences may identify. While the series highlights his contradictions, it also presents a charismatic figure whose presence dominates the screen. This is dangerous, as it can foster an admiration for a man who ruled partly through violence and coercion.

It is crucial to understand the savage lure of Fascism. The show successfully conveys the visceral energy of the movement. However, it is equally important to recognize that Fascism did not arise in a vacuum. The weaknesses of Italian democracy enabled Mussolini’s rise. It failed to represent the interests of ordinary people. There was corruption and division. This, more than Mussolini’s personal charisma, is what allowed Fascism to flourish.

By Pat Harrington

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Majorca Daily Bulletin

WHENEVER I’m away from home I always try to pick up a local paper. It doesn’t matter where the paper is from – anywhere in the English speaking world does me just fine. I really enjoy reading them right the way through from front to back (and from back to front if the sports news is really interesting!)

As well as reading what the paper has to say for itself I also love to see how the paper looks. I’ve always had an interest in layout and design so this aspect

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of the media really fascinates me. My view is that there’s no point in having a brilliant article if no one reads it because of a bad layout. (This latter aspect would be particularly important for any commercial paper, where making a profit is the bottom line for the owners. If no one’s buying the paper – because of its bad layout – then their profits go out of the window.)
Whilst on a recent (and all-too-brief) family holiday in Majorca I came across the Majorca Daily Bulletin (1). Written to an excellent standard – and at 1 Euro for 32 pages – I thought it represented excellent value.

This English language daily is on sale throughout the Balearic Islands – Majorca, Minorca, Ibiza and Formentera. It appears to be part of a much larger Spanish-based media group, Grupo Serra. Other publications in its stable include Ultima Hora (2) and Mallorca Magazin (3).

One thing that immediately struck me about the Majorca Daily Bulletin was its editorial independence. One would think that the safe and logical thing to do for this paper – especially as it’s wholly pitched at the (foreign) English-speaking community – would be to toe the government line. But the Bulletin doesn’t.

The independence of the Bulletin was demonstrated by Editor (Jason Moore) in his Viewpoint article of September 24. This noted that:
“The Madrid government was busy toasting a record August for tourism yesterday with foreign tourists spending billions in Spain last month. But not everybody was celebrating yesterday. Infact, in bars and restaurants across Majorca the champagne was very much on ice. The official figures tell a story; a rise in the number of tourists who spent more money. The big winners were naturally the hoteliers and the losers were the small army of bar and restaurant owners across the country who saw their takings fall because of an increase in all inclusive holidays and the recession.”

I thought that this was a good – and balanced – view. I presume that tourism is the lifeblood of the Balearics and no one would want to ‘rock the boat’ when it came to this subject. However, the Majorca Daily Bulletin saw right through government waffle and pr spin. The paper got to the heart of the matter – the survival of the local economy via small independent shopkeepers and traders. There’s a worrying trend whereby small indigenous shops are squeezed out existence by big business. If it continues, then all we’ll be left with is an ‘identikit’ world. I don’t know about you but when I go away I like to see and experience a bit of local culture – and this includes the shops!

Away from taking the government to task, the paper has a great mixture of home (Majorca) news as well as several pages covering Britain and the World. I’ve a sneaking feeling that Gerry Mulligan’s Crimewatch page is a ‘must read’ for lots of folks. The Balearics appear to attract drug dealers by the score but as Gerry notes, the Guardia Civil are successfully “weeding” out these criminals!
The Bulletin also features several interesting sports pages. I particularly liked its football coverage. With so many people enjoying their holiday in Majorca, it carried reports from England, Spain, Germany, Italy, France and the Netherlands.

However, one of the best sports articles was written by Monro Bryce – Squeaky Bum Time At Son Moix! It reported on Real Mallorca’s game against Mirandes in the Spanish Premier League. This was a great example of a fans point of view. His report was full of passion. There was constructive criticism of the club – a “Jekyll and Hyde outfit” – but a deep love as well.

I loved his acknowledgement of Real Mallorca’s Ultras: “A special mention must go to our Ultras at the North end curve, they sang all game – it would have brought a tear to a glass eye.”

I also really loved his description of watching his local team – “fans squirming in their seats as one’s team’s fortunes wax and wane” – but all that squirming must have paid off as Real Mallorca won!!
(1) http://majorcadailybulletin.com/
(2) http://ultimahora.es/
(3) http://mallorcamagazin.com/
Reviewed by John Field

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I, the Dictator

I, THE DICTATOR

Teatr Wiczy

New Town Theatre,George street.  Venue 7

JUST THREE people turned up to see this woeful production.  Perhaps I ought to have taken this a warning.  A man clad only in underpants stood centre-stage clutching a length of celluloid film. He’s Charlie Chaplin, apparently preparing to shoot the last scene of his film, The Great Dictator which satirised Hitler’sGermany and Mussolini’sItaly.

There were elements of tapdance, jazz and mime but your reviewer was past caring by this time.  I was startled back into wakefulness when the solo performer stood bullock-naked in front of me with his trousers around his ankles.  I couldn’t see any relevance to the plot. Great Dick-tator perhaps? Mercifully the end came and three intrepid theatregoers were able to make our escape out into the heavyEdinburghrain.

 

Reviewed by David Kerr

 

** Two Stars

www.wicza.com

 

www.universalartsfestival.com

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