(****)
Iconic Italian writer/director Marco Bellocchio’s filmography spans decades and includes an impressive collection of films. For sixty years he’s told hard truths that needed to be heard. From 1976’s anti-military movie Victory March to this new historical drama, which won’t win him any fans at the Vatican.
In 1858, a six-year-old Jewish boy, Edgardo (Enea Sala), supposedly baptized by his Catholic maid, is abducted from his family under Pope Pius IX’s (Paolo Pierobon) orders. The Catholics claim him as one of their own and he is to be raised in a Catholic boys’ school. Says an official: “The church knows how to be a merciful mother.” Law enforcement is involved in the kidnapping as the child’s stunned, shocked then distressed parents (Barbara Ronchi and Fausto Russo Alesi) long for their son and fight for his release.
The magnitude of this unimaginable cruelty is glaring. It’s enhanced further by extraordinary cinematography (Francesco Di Giacomo), production design (Andrew Castorina) and editing (Francesca Calvelli, Stefano Mariotti). The whole look is eye-catching from beginning to end. Add in that Bellocchio, working from a screenplay he cowrote with Susanna Nicchiarelli, keeps the high drama at a fever pitch for 2h 14m, and the film becomes monumental.
The period is the 19th century and the director’s low-color-saturation almost sepia-toned footage makes it look like it was shot in the 40s or 50s. The production has an overwhelming presence, like that of a dramatic opera, and certainly with this theme it could be turned into one. The premise is astonishing. The story alarming. The power of the church is scary and their words to the youngster as he is brainwashed villainous: “Jesus was baptized just like you. He was killed by the Jews.” A Papal assertion is equally troubling: “I am the Pope. I only have to answer to god!”
During the reign of terror, there are moments when the innocent Edgardo’s exploration of his new surroundings is manifested in the most naïve acts. When he climbs atop a statue of Jesus in the church and the sculptures hand’s bleed it’s unforgettable imagery. Scenes like this will remind film fans of the greatest works by Italian directors who understood and cultivated the power of indelible visuals. From Vittorio De Sica (The Garden of the Finzi-Continis) to Federico Fellini (Amarcord).
The will of the family to persevere even into their child’s young adulthood (Leonardo Maltese) is so inspiring it will both break audiences’ hearts and galvanize them too. Their relentless campaign counterbalances all the grief and horror.
The will of the family to persevere even into their child’s young adulthood (Leonardo Maltese) is so inspiring it will both break audiences’ hearts and galvanize them too. The parents’ relentless campaign counterbalances all the grief and horror.
Kidnapped is as brilliant and revealing as it is masterfully told. This is how ingenious, artistic filmmakers tell stories that must be heard. Through vibrant characters that relive history and uncover its darkest secrets.
Trailer: https://www.youtube.com/watch?v=oQAK0yBHQZ8
For more information about the New York Film Festival go to https://www.filmlinc.org/nyff2023/
Visit Film Critic Dwight Brown at DwightBrownInk.com.