![]() Goffredi’s also quietly in love with Ferida – an impossible situation in the film, given her devotion to Osvaldo, and an impossible situation for audiences when it’s clear Goffredi never existed. Reportedly inspired by Luchino Visconti’s wartime involvement, Goffredi’s position as a moderate partisan allows Giordana to needle drop the character into the narrative whenever the star couple are in a quandary, rescuing them from gunfire, and later pleading for a fair trial instead of outright sentencing and execution. Giordana’s script flows through specific periods which cover the industry’s relocation from Rome’s Cinecitta to Venice, and Valenti’s own peculiar career trajectory, as he shifted from movie star to a position in the military.Īccording to the film, as a lieutenant he routed out partisans and fraternized with some of the regime’s most brutal figures, including Pietro Koch (terrifying Paolo Bonanni), but either due to a scarcity of details and first-hand accounts or a need to enhance the tragedy of Valenti and Ferida’s demise, Giordana also created the fictional character of Golfiero Goffredi (Alessio Boni), a left-leaning, kind of gay director-producer who becomes an industry outcast and joins the partisan movement. By the time the pair were industry news items, they’d begun to appear in films together, and worked with some of the country’s top directors. ![]() Giordana’s film is also much too long, suffering from a clumsy flashback structure which bounces between post-assassination scenes to fragments of the couple’s burgeoning relationship as Valenti, already a huge star, began to court up-and-coming starlet Ferida. In spite of the film’s high pedigree – Sangepazzo / aka Wild Blood stars Luca Zingaretti ( Il commissario Montalbano) as Valenti, Monica Bellucci ( Spectre, Brotherhood of the Wolf) as Ferida, and features Best of Youth director Marco Tullio Giordana – it becomes clear within the first third that Wild Blood is a very mediocre bio-drama that injects more fiction than fact to transform an already compelling moment in Italian film into outright melodrama. In April of 1945, two of Italy’s most popular actors were arrested by anti-Fascist partisans, reportedly hurried through a quick sentencing and taken into the street, where Osvaldo Valenti and his pregnant lover Luisa Ferida were executed by gunfire – a brutal event that undoubtedly horrified the pair’s fans, and left a dark footnote in the history of Italian film. Synopsis: The tragic final years of Italy’s silver screen couple Osvaldo Valenti and Luisa Ferida are dramatized in a fractured structure, leading up to their execution during the final days of WWII. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |