Sergio Pelone

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Good Morning, Night Review


Weak
Italian political history gets revisited in Good Morning, Night (aka Buongiorno, notte), the latest work from pedantic ideologue Marco Bellocchio. If you're already moving on to the next review at filmcritic.com ("God, not another history lesson! Let's see what they wrote about Mystic River or Kill Bill instead..."), I can't blame you. Bellocchio doesn't really make movies so much as build tracts, and his philosophy student background at the Catholic University of Milan is the driving force behind his films. They're philosophic inasmuch as they have characters sitting around discussing big ideas, which is the kiss of death for many films.

Inherently dramatic, Good Morning, Night has a strong premise addressing issues of responsibility and the dynamics of power. The Red Brigade terrorist group kidnaps Italian President Aldo Moro (Roberto Herlitzka) and holds him in their cell -- a small house in a suburban neighborhood. The youngest member of the group, and the only female, is Anna (Maya Sansa), who takes on the role of housewife for her three revolutionary companions and has a soul-stifling job at the local library. As days pass and the terrorists negotiate with the authorities, Anna questions her role in the political machinations. Though she never really grows more self-aware, she feels a sense of guilt over the possibility of killing Moro.

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