Marco Bellochio’s social critique shines again in Sangue del mio sangue
POINTS: 8
The singularly picturesque Italian town of Bobbio is several things at once: it’s Marco Bellochio’s hometown, it’s the scenario where he shot his striking opera prima Il pugni in tasca (Fists in the Pocket) back in 1965, and it’s also where he shot some other highlights of his career. And now it’s the place where the two stories of Sangue del mio sangue (Blood of my Blood) occur. More to the point, it’s Santa Chiara, Bobbio’s old convent prison, where the drama transpires. Now, the big surprise is that the film consists of two different tales taking place in different times and not interconnected — at least not in an apparent or conventional way.
First, there’s a 17th century horrorific witch trial, which is in fact a free recreation of the early 17th real life affair that happened in the town of Monza, where a nun named Sister Virginia María had a heated romance with an aristocrat and then gave birth to two children fathered by him. She then took part along with other nuns in the murder of another nun to cover up the affair. In the end, she was put on trial, found guilty and as a punishment was walled in for 13 years in the Home of Santa Valeria.
In Sangue del mio sangue, the priests of Santa Chiara discover that a young nun (Lidiya Liberman) has had an affair with a priest and then forced him to kill himself. But not without the help from the devil since, according to the priests, she’s a witch. Federico Mai (Pier Giorgio Bellochio), the dead priest’s twin brother, wants Benedetta to confess she’s a witch with a pact with the devil.
This way, his brother can be buried in holy ground. Otherwise, he will be buried in the donkey cemetery for he committed suicide out of his free will. What ensues is a painful torture executed by the priests in order to get the nun to confess. Think of a medieval trial and you’ll get the picture. Even Federico plays a role in the compulsory martyrdom. Expect long standing suffering.
A state of ecstasy is at the heart of this first story, as you can see it not only eventually in the nun, but also as an overall feeling that permeates the whole scenario — there’s one particular priest who seems to be on the verge of spiritual and mental collapse. As the story unfolds, a piercing drama with some very harrowing scenes is accomplished with clockwork precision. Typical of Bellochio, the narrative is muscular and absorbing.
Of course you’ll be reminded of Joan of Arc — be it Ingrid Bergman in Victor Fleming’s version, Florence Delay’s in Bresson’s riveting feature, or María Falconetti in Dreyer’s masterpiece. You could say that this time, Bellochio’s well known social critique to the oppression and cruelty of the Catholic Church reaches a new level — and not without reason. If martyrdom gives way to ecstasy, then it will turn into vigorous and unforeseen rebirth of the spirit and the flesh too — perhaps as both payback and revenge.
Then, there’s the altogether different second tale. Which deals no less than with the encounter of a 21st century vampire, Count Basta (Roberto Herlitzka) and Federico Mai (Pier Giorgio Bellochio again), a tax inspector who brings a Russian billionaire who wants to buy the convent where the Count has secreted himself for the last eight years. The town of Bobbio has changed in every sense, meaning it’s been modernized, and the convent has also changed since it’s now in ruins. While Count Basta has dropped out of society long ago, but he still likes to go for a walk at night around town. And he meets with other vampire friends at the dentist’s room.
Now the genre is farcical comedy that reflects upon the fate of vampires in a world filled with social networks and media influence everywhere. It seems that the focus is on the corruption and decadence of our postmodern society, as voiced by the melancholic Count who’s tired of living. It seems he could very well do without any more time. Vampire or not, you can only take so much progress. Once again, Bellochio’s social critique comes across, albeit in an oblique manner.
Regarding aesthetics, the whole film can’t get any better. Flawless cinematography with a great use of depth of field in both exteriors and interiors, always lit to show the tiniest of details, alongside a palette that establishes the rights moods for the stories and their vicissitudes. Let alone the impressive production design that creates worlds of their own, sometimes with a heavily pictorial style. Last but not least, the heavenly musical score is much welcoming and it’s of great help to achieve an everlasting film of haunting beauty.
Production notes
Sangue del mio sangue / Blood of my Blood (2015). Written and directed by Marco Bellocchio. With Roberto Herlitzka, Lidya Lieberman, Alba Rohrwacher, Pier Giorgio Bellochio, Fausto Russo Alesi, Federica Fracassi, Alberto Cracco, Bruno Cariello, Toni Bertorelli, Filippo Timi, Elena Bellocchio. Cinematography: Daniele Cipri. Production design: Andrea Castorina. Music: Carlo Crivelli. Costumes: Daria Calvelli. Editing: Francesca Calvelli, Claudio Misantoni. Production companies: Kavac Film, IBC Movie, Rai Cinema in association with Barbary Films, Amka Films, RSI Switzerland. Running time: 107 minutes.
