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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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Edinburgh Fringe 2010: HITLER ALONE

Hitler Alone ****

Venue 257

Interlingua, 29 Hanover Street

21-26 August

Reviewed by David Kerr

This year seems to be the season for one-man-shows about monstrous dictators. Choose between Mussolini at the Hill Street Thratre and his protégé and successor Adolf Hitler at Venue 28.

The scene is set in the doomed fuehrer’s bunker a few hours before his death as the Red Army battles for control of Berlin. The simple stage in a tiny room draws out that bunker-like sense of claustrophobia. In front of a huge swastika banner, sits a single chair and a small table on which sits a framed picture of Hitler’s mother.

Paul Weston’s Hitler rants and raves, then calms down for a bit as he recalls some of his triumphs and disasters. At times, Weston’s Hitler comes across as vunerable and human; the rest of the time as the demonic monster of legend.

Webster’s intense performance is chillingly mesmerising and even at times sympathetic as the Great Dictator walks out the door to meet his final destiny.

**** four stars

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Edinburgh Fringe: Mussolini: a one-man political farce *****

RGR Productions

Venue 41

Hill Street Theatre

5 – 30 August        TICKETS


The country is on the brink of bankruptcy and divided by a disastrous war. Parliament stinks and no-one knows what to do. Sound familiar? This is Italy in the 1920s. One man has the answer – unfortunately it’s Benito Mussolini; the devout socialist who invented Fascism.”

Ross Gurney-Randall portrays the former Fascist dictator of Italy as both a hunted and a haunted man as the Allies and partisans close in on him.

In turn he is bombastic and vainglorious when he thinks that the Italian people are unworthy of his great genius; or he is full of self doubt as he cowers from Allied aircraft. At times he comes across as an ineffective teacher of an especially rowdy class.  He recalls his early lifte, his commendation as a socialist leader by Comrade Lenin and his transformation from socialist agitator to Fascist dictator.

This powerful one-man-show gets right inside Mussolini’s head. The humour is dark but not forced as the depressed Duce recollects significant events in his life; the March on Rome, the murder of socialist leader Matteoti, his son-in-law’s treachery which led to his removal from office and his arrest and imprisonment on the orders of the King,

Gurney-Randall brings to life his mixed feelings about being rescued on Hitler’s orders, his installation as head of state of the puppet Salo republic and how his hand was forced to have his son-in-law shot for his treachery. Regrets?  He had a few as all his hopes and dreams came crashing down around him.  This fine play tells all.

Reviewed by David Kerr

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