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We believed

We attended the screening of the film by Mario Martone "We believe" with both interest and participation in the topic proposed for the beauty suggestive of the landscapes presented in wide shots. Arts and talent intertwine and come together when a real director is preparing to direct an epic film that lasts three hours and a half, immense effort that engages all the team recruited to give the film more than it was in their ability. The unusual length of the film does not tire the viewer, the story captures the attention once to understand and investigate unexplored moments and episodes of our Risorgimento. Historical epic was the Risorgimento, it has been presented in textbooks and in our imagination that is also supported by recent compelling because studies of qualified Italian and foreign historians. Mountains and valleys full of olive groves he describes the Martone with his camera, the lush Cilento and its industrious peasants massacred (the year 1828) by the armed forces because they were considered rebels and subversives Bourbon. It destroys the countryside and villages with unprecedented ferocity. Faced with such a violent crackdown three young friends (Dominic, Angelo and Salvatore), extractive different social, sworn to devote their energies to Italian cause and join in the newborn Young Italy. Mazzini is the only character to appear in a few scenes from the film, does not meet the three and a half hour or projection or Cavour Vittorio Emanuele, Garibaldi feelings evoked by his name alone and the noise it causes among the people appeared in bold adventure, Aspromonte 1862. The film is divided into four episodes: Choices - Prison Montefusco - Angelo - 1862. These are related to each other as recount the unfolding of the tragic events that took place over a period of time ranging from 1828 to 1862, of which the protagonists are three young friends. The character that stands out most in the first part of the film is that of Cristina Trivulzio Belgaum, remarkable woman, intelligent, striving to contribute to a united Italy. The Belgaum includes the evolution of events to her contemporaries. E 'ready to finance in part the motions Mazzini in 1834 and will be herself, the various failed revolutionary movements, indicating the Savoy is the only way to be taken to achieve unity. Beauty and charm and good interpretation of Francesca Inaudi.

the Risorgimento in the film is presented as the result of a broader movement that is ideal from a distance (Ludovico Muratori and others) and is powered by Romanticism. Romantica is the representation of environments bundles of sentimentality, the duality of misery - noble, elegant and gorgeous at the opera house, the cry of the poor people forced to live in old and dilapidated shacks. Romantics are the conspirators watched over by a dull state police ready to crush any subversive action. Romantic Exiles who believe and hatch in the heart of patriotic ideals, romantic Italian and the persecuted from areas of Europe where he weighed more oppression of the Austrian Empire. In the second episode is represented Montefusco prison where many patriots were imprisoned, nobles and common people who aspire to make Italy a nation where they could be made il sogno-bisogno di libertà, uguaglianza e indipendenza. E qui Martone ci sottolinea le lunghe discussioni, spesso inconcludenti, prima di approvare un progetto, una linea politica, precorrendo i vacui dibattiti nel nostro odierno Parlamento. Italia repubblicana o monarchica? Scontri verbali, patteggiamenti e ricatti si intrecciano e si susseguono. Nel terzo incontreremo Felice Orsini, l’attentatore di Napoleone III che metterà in pericolo l’alleanza dei francesi con i Savoia per una eventuale quanto probabile guerra contro l’Austria tanto sapientemente preparata da Cavour, vero regista, spesso occulto, dell’Unità d’Italia. Infine il quarto e ultimo episodio del film: “1862”. La presenza del Generale Garibaldi aleggia sovrana sulla folla dei volontari accorsi per completare il sogno di Roma capitale, e l’eroe dei due monti è ancora una volta pronto a guidare l’estrema sfida a Pio IX, sottovalutando l’opposizione della Francia, nazione protettrice del piccolo stato del Vaticano. Sull’Aspromonte Garibaldi viene ferito e subito trasferito in Sardegna. I garibaldini senza guida vengono dispersi e il Meridione rimane in mano a gruppi di banditi sovvenzionati dai Borboni ancora per molti anni, e sarà una lunga guerra civile che provocherà tante vittime e arretramento sociale. “Noi credevamo” è un film che invita a sperare e a riflettere nell’avvenire di un’Italia migliore. Credevamo di raggiungere uguaglianza e giustizia e libertà per tutti i cittadini. Ciò è avvenuto? Il film non stanca e lo si può rivedere più di una volta perché tratteggia con abilità e poetica leggerezza personaggi, figure, ambienti, momenti tragici della nostra storia con trasporto e passione senza mai esprimere giudizi sugli avvenimenti narrati. Sostiene il Martone di non avere girato il film per la ricorrenza dell’anniversario dell’Unità d’Italia, e gli crediamo come crediamo che “gli uccelli non cantano prima dell’alba” come si sente bisbigliare dalle labbra di un popolano verso la fine dell’opera. Pensiamo però che ci abbia voluto dire: “Smettete di scrivere la storia d’Italia inneggiando alla via the national lament where prevails the tendency to fragmentation and localism. "In truth there has been no Italians from the outset a genuine story, the birth of the nation's anti-rhetorical and perhaps even pay for this debt was not feeling generated by the same land, beneficiaries of the same culture. Martone presents an Italy poor and at the same time full of energy and ideals, he tells us to remain faithful to our future, our past: the Risorgimento. Listening to Giuseppe Galasso at a conference in Turin, we recorded the following statement "... that the Renaissance can do a lot of criticism is something simple and easy, but you can not deny the fundamental and decisive positive that it has had in the history of ancient Italy. The Renaissance is not the starting point of the Italian national history but the end point that has put the head in a great historical process. Piedmont, Lombardy, Veneto, Tuscany, Emilia, Naples, Sicily, as well as others, gave up their ancient tradition of regional independence in the context of Italian culture. "We add:" The Renaissance was a great human revolution and civil. We must be faithful to our past and remain bound to its ideals. "Martone has already revealed his work with fragments of history that have remained invisible for so long hidden or say, without detracting from the greatness of those who had united Italy. A film to see "We believe" because it invites us to reflect on our recent past with candor and careful thoughtful lightness.

Giacomo Giannone