Product Details

• Amazon Sales Rank: #47242 in DVD
• Brand: IMAGE ENT.
• Released on: 2008-08-05
• Rating: R (Restricted)
• Aspect ratio: 1.85:1
• Formats: AC-3, Color, Dolby, DVD, Subtitled, Widescreen, NTSC
• Original language: Italian
• Subtitled in: English
• Number of discs: 1
• Running time: 108 minutes

Features

• The violent political unrest of 1960s Italy brings simmering tensions between two feuding brothers to the boiling point in this critically acclaimed film. Eager to distance themselves from each other, Accio (Elio Germano, Do You Like Hitchock?, Respiro: Grazia's Island) and older brother, Manrico (Riccardo Scamarcio, Romanzo Criminale, Three Steps Over Heaven), join opposing political parties

Album Description
The violent political unrest of 1960s Italy brings simmering tensions between two feuding brothers to the boiling point in this critically acclaimed film. Eager to distance themselves from each other, Accio (Elio Germano, Do You Like Hitchock?, Respiro: Grazia's Island) and older brother, Manrico (Riccardo Scamarcio, Romanzo Criminale, Three Steps Over Heaven), join opposing political parties but are tied together by their dysfunctional working-class family... and a beautiful girl named Francesca. As the turbulent decade comes to a close, the brothers slowly discover they're more alike than they thought, but that realization might come too late.

Amazon.com
My Brother is an Only Child, a black comedy from talented director Daniele Luchetti (Little Teachers, The Yes Man), digs deep in its examination of family, connections, and brotherly love. It manages to be touching, edgy, hilarious, disturbing and vexing--sometimes all in the same scene. At the heart of My Brother are two of Italy's hottest young screen stars, Elio Germano, who plays younger brother Accio, and heartthrob Riccardo Scamarcio, who plays older brother Manrico, both wrestling with the political changes sweeping their country in the '60s. Their fractious but loving family is completed by their compassionate dad, fretful mother, and sweet sister, who spends most of the film dodging the blows, literal and figurative, between her two brothers.

Yet blood is thicker than water, politics, and just about everything else, especially in Italy. The family becomes a crucible when Accio becomes enamored with the neo-Fascists, while Manrico becomes a leader in the local Communist Party. It's a brave director (and actor) who can play Fascism for laughs, and both Luchetti and Germano manage to pull it off, though the viewer will be squirming at young Accio's pontifications and salutes to Mussolini. "A Fascist in the family is always handy," he deadpans during one jackbooted brawl attended by Manrico's commie pals. There's a sense of foreboding through the slapstick, and hearts are broken along the way. But My Brother is an Only Child provokes both thought and emotion, crystallizing both a key moment in Italian cultural history, and the ancient truth of brotherly connection.--A.T. Hurley

Customer Reviews

Finding Self: A Beautiful Coming of Age Story
MY BROTHER IS AN ONLY CHILD ('Mio fratello è figlio unico') is a title that may confuse the casual movie viewer, but it is an apt summation of the rigorous story that this excellent Italian film by Danielle Luchetti (adapted from a novel by Antonio Pennacchi) represents - the coming of age of two brothers in the confusing and turbulent 1960's and 1970's in Italy. While the film deals with the myriad political factions that disrupted life especially among the students of that era, the main focus of the story is the indomitable brotherly love that bonds the two main characters.

Accio Benano (Vittorrio Emanuele Popizo) as a child is a mischief maker who has entered seminary to become a priest, but his innate search for truth and meaning soon finds him returning home to his little family in a Mussolini-fabricated town called Latina, a village built on promises of communal well-being (a housing project was built but the poor villagers are refused access to it), but languishes in the poverty of lost hopes and deflated spirits. Accio's father, mother, younger sister and older brother Manrico (Riccardo Scamarcio) are making ends meet, but are frustrated with the political oppression of the working class. Time passes and the older Accio (Elio Germano) comes under the influence of Mussolini's 'idealism' with the tutelage of his older friend Mario (Luca Zingaretti) and embraces Fascism while Manrico has aligned with the communists, and it is this dichotomy of belief that sets Accio apart from his brother as well as his family who are communist sympathizers. Accio's personality places him in harms way with the law, with women (he has longings for the women in both Mario's and Manrico's lives), and ultimately with turns of events that threaten to pit brother against brother. The resolution of these conflicts makes for a fascinating study of familial ties, brotherly love, and a keenly observed sociopolitical history of Italy that is as enlightening as it is entertaining.

While Germano and Scamarcio are the obvious stars of this well acted film, the supporting cast (including such fine actors as Angela Finocchiaro, Massimo Popolizio, Alba Rohrwacher, Anna Bonaiuto, and Diane Fleri) is uniformly strong. This epic film demands full attention to the script (Italian with English subtitles) to follow the various political differences, but the tenor of the film is one of the excitement and concomitant love of two brothers coming of age in the best Italian style! It is a joy to watch and a lesson in history about which we should all be aware. Grady Harp, August 08

AMERICANS DON'T MAKE MOVIES LIKE THIS
Viewers would probably benefit by having a sense of Italy's history-- and the history of Italian cinema--to get a good grasp on the film. Otherwise, it may seem uneven and spotty. If you haven't already, I recommend watching Best of Youth, Fist in the Pocket, Bicycle Thief, Rocco and His Brothers, I'm Not Afraid and even Lina Wertmeuller's Swept Away to put this film in context.

Italian cinema has a tradition of basing their films on literature, classical drama, and political and intellectual concerns. As a cultural group, they are first to speak up about injustices of the status quo. Such is the case with Mio Fratello e'Unico Figlio ( My Brother is an Only Child).

It is a story of a family living on the outskirts of Rome. In the 60s and 70s things were pretty rural in the town of Latino; excitement resided elsewhere--Rome, for example. Within the family, there is the Communist brother Manrico; a fascist younger brother Accio; and a Christian Democrat father. The mother is work-worn and weary of living in government housing with walls that crack right before her eyes. The sister, a delicate thing, is the only member of the household who has privilege. She attends the classical high school and plays the cello in an orchestra. The family is a microcosm of Italy, with its disagreeing, often violently factious, parties crowded together in a small house.

Crowded they are. The film bombards viewer's senses with the bonds of intimacy and conflict within the family. Manrico and Accio fighting,for example. We hear their bones knocking against each other, the thud of a foot in the stomach. We see the anguish of the family as they walk down the road to the school house to confront the daughter's professor, who supposedly is taking advantage of the girl. There is religious artwork on every wall ; the eyes of Jesus watch everything that goes on. The harshly lit kitchen table where Accio does his homework. The kissing, the sex, the thinly closed doors behind which the brothers make love. Manrico and Accio love the same girl.

Francesca, the beautiful girl they love, is the daughter of an engineer at the local factory. She gets pregnant to Manrico and her family rejects her. They do not want a grandson who is the descendant of a worker,

The split and love between the brothers is the center of the story. Manrico, a charismatic, Communist organizer speaks up for the masses and wants to make art and culture available to the workers. Accio start out a black-shirt fascist who salutes il Duce, doses Communist cars with petrol and sets them afire.

But the good brother becomes the bad one and Accio the good brother. Accio points out to his fervent Communist brother that their father is the real worker. Manrico's politics push him to become a `kneecapper,' a leftist who shoots rich factory owners in the knees and then steals their briefcases full of money. "Can you imagine our father with a gun?" he asks.

Manrico goes underground and eventually his murderous deeds catch up with him. Accio ends up being the father to Manrico's toddler son and takes him to live in the crowded house back in Latino.

The meaning of the film's title is not clear until the very end.

Interwoven with the politics and family is the rawness of coming of age, of being a passionate teenager who has political ideals, a vision of the future, and a committed sense of right and wrong. European children grown up more quickly and are wiser, I think than our American children who are often victims of privilege.

Privilege: that's the big reason we do not make films like My Brother is an Only Child in America: American's prefer , both in the present and historically, to reinforce the privilege of our culture rather than look at issues such as the struggle of the masses and dissatisfaction of the status quo.

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