Did you people see the same film I saw?

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

Despite the inexplicable gushings from other reviewers, this is simply a bad movie; the directing, writing, acting, photography and music all bad in their own way. The first 45 minutes of the movie are confusing with no purpose; the movie jumps back and forth from different years making it almost impossible to get rolling and impenetrable to understand. By the time, Giovanna Mezzigiona is confined to a mental hospital (the last half of the movie) we just don't care, and nothing is added to the film. The film could have worked much better as a chronological story; how she met Mussolini, their subsequent relationship and should have ended with her confinement. The end credits could have told us that she never saw Mussolini again. There was absolutely no drama in the hour of the story during which she is confined. The movie tried (and failed) to do too many things: History, world wars, journalism socialism, Fascism, romance, betrayal, to name a few, and did them all poorly. The movie starts chaotically and never gets into any rhythm. The beginning was so bad that it resembled a student film. I hated the idea that the first part of the film was shot in such dark colors (it wasn't as if this was about a journey to light); in fact, it would have been better to start with a lighter palette and grow darker as both Mussolini rise and Mezzagiona's commitment follow. The music was way too intrusive and only added to the pain of watching this movie. The acting was also poor. (Mezzigiona is a major Italian actress and yet has a persistent habit in recent films of failing to connect with the audience and getting us to care about her character) Fellow IMDBers beware! This is a big whiff.

Marco Bellocchio directed and wrote (with Daniela Ceselli) this very dark version of the private life of Benito Mussolini, a portion of his life that centered on his mistress and the mother of his son, one Ida Dalser. Though the film never really reveals whether Ida Dasler and Mussolini were married (Mussolini already had a wife and child when he me the devastatingly beautiful and erotic Ida) but that simply doesn't seem to matter while watching this artistic triumph of a film. What the director does manage to portray is the life and times of Italy before, during, and after WW I, a time during which Mussolini began his influence as a socialist and ultimately founded Italian Fascism, becoming the Fascist dictator of Italy. The many permutations of the concepts of monarchism and socialism and eventually Fascism are delineated by the film, if at times as shadowy in their explanation as is the director's love of dark in lighting the screen during almost all of the action. Bellocchio uses black and white film clips throughout his film giving it a somewhat documentary flair, but the performances by the actors make this film very much a visceral drama and not a dry rehash of history. Filippo Timi gives a gripping performance as both Mussolini the ardent and handsome lover and politician whose life is always controlled by the term 'Vincere' ('Win'). Aptly, when the bulky monster Mussolini rises out of the socialism into fascism and the war the part of Mussolini is 'played' by the film clips of the real person. But as the film draws toward the end of his life, Timi once again enters the film in the role of his son Benito Albino Mussolini, a lad stricken with insanity and confined to a sanitarium. As Mussolini's mistress (aka 'wife' by her accounts) Ida Dalser, Giovanna Mezzogiorno offers one of the strongest cinematic portrayals of an important woman of history. She is simply riveting - erotic when the romance begins, faithful even when she discovers Mussolini has a wife, and uncontrollably fierce as she is confined by the government (with Mussolini's approval) to an insane asylum. This is one of those performances that will live in memory long after this film is seen and hopefully will garner awards when the Oscar season comes round. In all this is a beautifully wrought, intelligent, beautifully acted, occasionally confusing melodrama that sheds light on the man Mussolini, his rise to power, and the women who came under his influence. Recommended. Grady Harp

The film is absolutely horrible, the inter-cutting of old and new footage is just confusing, it does not get into the characters, it just lets them be there. The acting is not in anyway good. They decided to not use any money at all and not put any effort into it, bombs are not only fog, and they don't even try to age anyone. It feels like a propaganda film.The visuals do not match up if they wanted it to match up with the old footage they would have made it black and white!

Bellocchio's latest is yet another look at a controversial Italian political figure, Benito Mussolini; however, it deals with a phase of his life which was kept 'in the shadows' for a great many years – the dictator's first marriage, which even yielded him a son! As was the case with GOOD MORNING, NIGHT (2003) – in which the film-maker had treated the abduction and execution of ex-Prime Minister Aldo Moro – the politician emerges not to be the central figure after all (remaining, similarly, little more than a cipher); here, in fact, the protagonist is Mussolini's secreted – or, more precisely, rejected – wife, who even winds up in a mental institution (a fate which also befalls their offspring, where both would die eventually)! The meticulous period reconstruction (and emphatic score) was to be expected, yet the human drama – and, by extension, the fine leading performances of Giovanna Mezzogiorno and Fabrizio Timi – is ultimately what renders the movie compelling; interestingly, while Mussolini as an older man is shown only via authentic newsreel footage, Timi plays both father and son as a young adult! Needless to say, the director distances himself from the Fascist fervor which had gripped his nation in those pivotal war years – choosing to depict Mussolini as godless (the film begins with him defying the Almighty to strike him down) and inhuman (both in the treatment of his first family and in his animalistic sexual prowess: the latter scenes, of which there a few, would otherwise have no discernible point) and even goes so far as to ridicule him by having son repeatedly caricature father's famously arrogant mannerisms while speechifying (with this in mind, the title – which translates to "Winning" – is clearly ironic, since what it presents is anything but the correct fighting spirit)!