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Rocco and His Brothers, 1960
Under the watchful eye of their mother, Rosario (Katina Paxinou), the five Perondi brothers adapt to their new life in the city, having relocated from a more rural town after the death of their father. The main conflict of the film centers on Simone (Renato Salvatori) and Rocco (Alain Delon), who both fall in love with Nadia (Annie Giradot) to disastrous results.
For me, this film was a fascinating study in humanity, and specifically masculinity, with Rocco and Simone functioning as two extremes on the spectrum and Nadia serving as the vehicle for the expression of their personalities. Both brothers exist at a point approaching morbidity, and in their own way they do damage to those around them, especially Nadia.
Simone, with his brazen "lad" personality (he steals, and then tries to charm his way out of it), is probably what most people think of when they think of a destructive masculine character. Simone has the opportunity to pursue a boxing career, but he soon neglects his training, opting instead for smoking, drinking, and chasing Nadia. When things don't go right for Simone, his instinct is to blame and lash out at others. He takes no shame in bullying and dominating others, even if he has to take the cowardly approach of getting a gang of men to give him a total advantage. Simone, especially in the second half of the film, stalks through the scenes like a dangerous beast. It's his unpredictability that makes him so horrible, and the worse things get the more desperate he becomes.
But this film isn't just about an angry, bullying drunk who abuses others. It's also about Rocco, who in his own way does just as much damage. On the surface, Rocco is the "nice one". Ever self-sacrificing, Rocco is kind and has a gentleness that is very much at odds with Simone. Rocco constantly covers for his brother. He takes a job as a boxer, despite not even liking the sport all that much, because it helps to provide for the family. Two years after Simone and Nadia break up, he begins a relationship with her, and she understandably falls in love with him. With Delon's almost impossible good looks, Rocco, who one character calls "a saint", seems like the perfect man.
And yet.
There is a dark side to Rocco's "saintliness", a point where it trips over into something dark. In the beginning, Rocco's way of helping his brother already has unfortunate signs of enabling. Rather than help Simone, Rocco's interventions only allow his brother to continue his actions and become even bolder. There are two harrowing sequences in the film that involve Nadia. In one of those sequences, Simone gathers a group of men from his boxing circle and
Rocco's reaction to a sequence that happens later in the film is similarly horrific, tucked behind the appearance of loyalty and understanding.
A trap that the film capably avoids is turning Nadia into a mere prize to be fought over by the brothers. Giradot's performance is incredibly emotional and shrewd. At times, Nadia makes decisions that on the face of it seem counter-intuitive. After Simone's attack on her and Rocco, Nadia goes back to Simone, but the contempt (for him and a bit for herself) bubbles and roils underneath the surface. She drinks to much, numbing herself to the way it has all gone wrong. In many moments, Nadia articulates the twisted and unhealthy relationship between the brothers. She is both witness and victim to their sick dynamic, and as other characters disparage her for being a prostitute, or blame her for "cursing" Simone, she can only laugh bitterly. She knows that there will be no justice for her, and so she must settle for taking a front-row seat to Simone's self-destruction.
The dark horse of the film, in terms of the drama, is the younger brother, Ciro (Max Cartier). Ciro watches the behavior of both of his brothers and realize that he must carve a different path for himself. Ciro is not willing to engage in the brutish behavior that defines Simone's actions, but nor is he willing to turn his back on brutal, cruel behavior in the name of sibling loyalty as Rocco does. Ironically, despite both Rocco and Simone professing love for Nadia, it is Ciro alone who in any way does what is right by her. Ciro's innocent, loving relationship with his fiance stands in stark contrast to the way that Nadia is treated by both Rocco and Simone. There is an older brother, Vincenzo (Spyros Fokas) of whom we see very little, but his stable life with his wife and child also stands in contrast to the actions of the middle brothers. With the family's father dead and gone, there is a vacuum for paternal authority. It is Vincenzo and Ciro who most embody any kind of benevolent authority.
Powerful stuff, with really beautiful black and white photography.
Rocco and His Brothers, 1960
Under the watchful eye of their mother, Rosario (Katina Paxinou), the five Perondi brothers adapt to their new life in the city, having relocated from a more rural town after the death of their father. The main conflict of the film centers on Simone (Renato Salvatori) and Rocco (Alain Delon), who both fall in love with Nadia (Annie Giradot) to disastrous results.
For me, this film was a fascinating study in humanity, and specifically masculinity, with Rocco and Simone functioning as two extremes on the spectrum and Nadia serving as the vehicle for the expression of their personalities. Both brothers exist at a point approaching morbidity, and in their own way they do damage to those around them, especially Nadia.
Simone, with his brazen "lad" personality (he steals, and then tries to charm his way out of it), is probably what most people think of when they think of a destructive masculine character. Simone has the opportunity to pursue a boxing career, but he soon neglects his training, opting instead for smoking, drinking, and chasing Nadia. When things don't go right for Simone, his instinct is to blame and lash out at others. He takes no shame in bullying and dominating others, even if he has to take the cowardly approach of getting a gang of men to give him a total advantage. Simone, especially in the second half of the film, stalks through the scenes like a dangerous beast. It's his unpredictability that makes him so horrible, and the worse things get the more desperate he becomes.
But this film isn't just about an angry, bullying drunk who abuses others. It's also about Rocco, who in his own way does just as much damage. On the surface, Rocco is the "nice one". Ever self-sacrificing, Rocco is kind and has a gentleness that is very much at odds with Simone. Rocco constantly covers for his brother. He takes a job as a boxer, despite not even liking the sport all that much, because it helps to provide for the family. Two years after Simone and Nadia break up, he begins a relationship with her, and she understandably falls in love with him. With Delon's almost impossible good looks, Rocco, who one character calls "a saint", seems like the perfect man.
And yet.
There is a dark side to Rocco's "saintliness", a point where it trips over into something dark. In the beginning, Rocco's way of helping his brother already has unfortunate signs of enabling. Rather than help Simone, Rocco's interventions only allow his brother to continue his actions and become even bolder. There are two harrowing sequences in the film that involve Nadia. In one of those sequences, Simone gathers a group of men from his boxing circle and
WARNING: spoilers below
while his friends restrain Rocco, Simone pulls down a screaming Nadia and rapes her. While this is horrible and upsetting, the real kick in the gut comes later, when Rocco's take on the whole thing is that Nadia should go back to Simone, because his RAPE OF NADIA clearly shows that his feelings are really hurt and he must really love her. It's the soft-spoken language of empathy hiding a sentiment that is truly hideous.
A trap that the film capably avoids is turning Nadia into a mere prize to be fought over by the brothers. Giradot's performance is incredibly emotional and shrewd. At times, Nadia makes decisions that on the face of it seem counter-intuitive. After Simone's attack on her and Rocco, Nadia goes back to Simone, but the contempt (for him and a bit for herself) bubbles and roils underneath the surface. She drinks to much, numbing herself to the way it has all gone wrong. In many moments, Nadia articulates the twisted and unhealthy relationship between the brothers. She is both witness and victim to their sick dynamic, and as other characters disparage her for being a prostitute, or blame her for "cursing" Simone, she can only laugh bitterly. She knows that there will be no justice for her, and so she must settle for taking a front-row seat to Simone's self-destruction.
The dark horse of the film, in terms of the drama, is the younger brother, Ciro (Max Cartier). Ciro watches the behavior of both of his brothers and realize that he must carve a different path for himself. Ciro is not willing to engage in the brutish behavior that defines Simone's actions, but nor is he willing to turn his back on brutal, cruel behavior in the name of sibling loyalty as Rocco does. Ironically, despite both Rocco and Simone professing love for Nadia, it is Ciro alone who in any way does what is right by her. Ciro's innocent, loving relationship with his fiance stands in stark contrast to the way that Nadia is treated by both Rocco and Simone. There is an older brother, Vincenzo (Spyros Fokas) of whom we see very little, but his stable life with his wife and child also stands in contrast to the actions of the middle brothers. With the family's father dead and gone, there is a vacuum for paternal authority. It is Vincenzo and Ciro who most embody any kind of benevolent authority.
Powerful stuff, with really beautiful black and white photography.