Spanish-born actor Antonio Banderas was hot in the mid-1990s, starring in Hollywood films like Philadelphia (1993), Interview with the Vampire (1994), Desperado (1995), Evita, (1996), and The Mask of Zorro (1998). Before his career in the United States took off, however, he starred in a little known Italian miniseries later released as a film about a young, handsome and idealistic Italian socialist who became an influential Italian leader. That Italian leader was Benito Mussolini.
Written by Vincenzo Cerami, et al, and directed by Gianluigi Calderone, Benito (1993) was a 307-minute Italian made-for-TV movie starring then 32-year-old Antonio Banderas in the titular role. It was later released as a film in the U.S. by Lions Gate Entertainment. The movie charts Mussolini’s rise from young laborer to socialist revolutionary leader, ending prior to his creation of the National Fascist Party. The topic of pre-World War I Italian socialism is a little too esoteric for American audiences, so Lions Gate probably released this in the U.S. to capitalize on Antonio Banderas’ popularity.
It seems strange to think of 20th Century Italian Fascist dictator Benito Mussolini as a left-wing political figure, but if it wasn’t for World War I, that may have been his claim to fame. Mussolini’s father, Alessandro Mussolini, was a socialist who named his son Benito Amilcare Andrea after Mexican president Benito Juárez and Italian socialists Andrea Costa and Amilcare Cipriani. As a young man, Mussolini avoided military service by hiding in Switzerland, where he studied Marxist philosophy, became active in labor unions, and wrote for the socialist newspaper L’Avvenire del Lavoratore. Back in Italy, he joined the Socialist Party and became editor of its newspaper, Avanti.
Continue reading “That Time Antonio Banderas Starred in a Movie Romanticizing Benito Mussolini”
Wonder Woman was written by Zack Snyder and Allan Heinberg and directed by Patty Jenkins [Monster (2003) and The Killing (2011-2012)]. It stars Gal Gadot [Keeping up with the Joneses (2016), Furious 7 (2015)] as Diana, Chris Pine [Star Trek (2009), Hell or High Water (2016)] as American spy Steve Trevor, and Danny Huston [Hitchcock (2012), Robin Hood (2010), 30 Days of Night (2007)] as General Ludendorff.
Diana/Wonder Woman is a young, fearless woman with a mysterious destiny who lives on an idyllic island with fellow Amazon warriors. They spend their days preparing for a conflict with the Greek god of war, Ares. One day, a pilot (Steve Trevor) crash lands in the ocean and Diana saves him. The German Navy is in pursuit, and after a brief battle the Amazons defeat the German search party. Diana helps Trevor get off the island and return to 1918 Europe, where she thinks Ares has orchestrated the First World War.
Wonder Woman is enjoyable and fast-paced. It’s 141 minutes but never feels that long. The action is never exhausting until the end, when of course there has to be some apocalyptic battle between Wonder Woman and Ares. Through interacting with a cast of characters from 1918 Europe and America, Diana becomes disillusioned with humanity. In the end, Trevor’s sacrifice to destroy a new poison gas developed by General Ludendorff’s chemist, Dr. Maru (Elena Anaya), makes Diana realize humanity might be worth saving after all.
The “fish out of water” scenes are genuinely funny and charming. The interaction between Diana and Trevor is great, but you never really have a sense of them falling in love (they share an identical dance scene to the one between Peter Quill and Gamora in Guardians of the Galaxy to establish their chemistry). It’s another “two hot people hook up”-type of romance.
Continue reading “Wonder Woman: A Dark Fantasy-Adventure”
Absolute Destruction: Military Culture and the Practices of War in Imperial Germany by Isabel Hull is a problematic and contradictory book. It is a good example of what happens when a historian begins with a thesis and then shoehorns data to fit that thesis. Hull’s core argument is that the Imperial German military (between the years 1904 and 1918) practiced institutional extremism, which led to the unchecked extermination of civilian populations in Africa and Europe. The unlimited application of violence defined that extremism. This made the German military unique among the militaries of other European powers. She set out to show, “how and why the institution designed to wield controlled violence exceeded the reasonable, effective, or goal-oriented limits of its use.”
According to Hull, there were three reasons the use of violence appeared unchecked: the German military’s separation from civilian institutions, the use of violence through “quasi-automatic mechanisms,” and an institutional gravitation toward total solutions―“the establishment of perfect order and complete obedience by the enemy population” in a permanent form.
To prove her thesis, Hull examined the behavior of the German military in Southwest Africa (present day Namibia), German military culture, and the behavior of the German military during the First World War. She drew from a large number of German sources and personal letters, as well as the philosophy of Hannah Arendt.
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