Synopsis
After the 1815 Restoration, an aging revolutionary finds himself reluctantly involved in an attempted insurrection in Southern Italy while growing increasingly disillusioned with his cause.
Allonsanfan
Cast
Marcello Mastroianni Lea Massari Mimsy Farmer Laura Betti Claudio Cassinelli Benjamin Lev Renato De Carmine Stanko Molnar Luisa De Santis Biagio Pelligra Michael Berger Raul Cabrera Cirylle Spiga Ermanno Taviani Bruno Cirino Stavros Tornes Pier Giovanni Anchisi Luis La Torre Carla Mancini Bruna Righetti
Directors
Producer
Writers
Editor
Cinematography
Assistant Directors
Additional Photography
Production Design
Set Decoration
Composer
Sound
Costume Design
Makeup
Hairstyling
Studio
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Language
Alternative Titles
Вперёд, сыны отечества!, Der Verräter, Allonsanfàn, Алонзанфан, Аллонзанфан, Petturi, 阿隆桑芳
Releases by Date
Premiere
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Italy
Milano
Theatrical
06 Sep 1974
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Italy
Physical
26 Jan 2023
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Germany16
Releases by Country
Germany
26 Jan 2023
- Physical16
Italy
05 Sep 1974
- Premiere Milano
06 Sep 1974
- Theatrical
Popular reviews
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Morricone is a true hero of music composition (ask Tarantino and his continuous tradition of ripping off world stuff) and his flawless creation exalts the status of this magnificent masterpiece by the underrated Taviani brothers. Accurate, passionate and incredible performances by an equally underrated Italian cast except for the already loved Mastroianni, all of them impersonating men of idealistic bravura and unavoidable melancholy of the past. Pitch-perfect cinematography and ironies throughout in a movie set in uproarious political times that faithfully continued the Romantic tradition of Visconti's Senso (1954).
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Dirindindiindiindiindiindiiiiiiiiiin99/100
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Ridiculously lavish period melodrama that invokes notes of Barry Lyndon’s woozily evocative beauty, Visconti’s sense of history as political allegory and bizarrely, Carlito’s Way’s serene and haunting melancholic inevitability.
Paolo and Vittorio Taviani have crafted a very Italian exploration of politics and the fragile male ego shot through with trademark neorealist frankness and surrealist flights of fancy, powered by a superbly conflicted and perversely flawed turn from Marcello Mastroianni as an aristocratic revolutionary after the fall of Napolean, desperate to leave his old ways behind him as he slowly ages and mellows, but finding his old ways won’t leave him alone. Following Mastroianni’s Fulvio as he is released from prison, betrays his revolutionary brothers and attempts to escape to America,…
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Allonsanfan, as in allons enfants (arise children), the opening words of La Marseillaise, is a lavish tale, steeped in revolution and set in early 19th century Italy. It involves a complex plot of betrayals and revenge that swirls around the disillusioned, aristocratic revolutionary, Fulvio, played with wearied charm by the great Marcello Mastroianni. His increasingly frustrated attempts to avoid being drawn back into fighting are a joy to watch. And here he has the perfect ally in Ennio Morricone’s score, which roots the film in the tragedy of war, while always fashioning an opportunity to skip away to its own merry tune.
The Taviani brothers are overdue a revival. They are great directors who made some stirring and beautiful films,…
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After the fall of Napoleon, the Restoration begins. Fulvio (Marcello Mastroianni, La dolce vita), an aristocrat who has dedicated his life to the revolution has become disillusioned and his cowardice keeps him from joining his comrades. As he struggles to manage his evasion and lies he gets swept up in a suicidal uprising in Southern Italy. Stunningly photographed with lush period detail and featuring the Taviani brothers' trademark magic realism and absurdist irony, Allonsanfàn has Mastroianni on top form as the reluctant insurgent and one of Ennio Morricone’s finest scores. Radiance Films is proud to present this essential film on Blu-ray for the first time in the world.
LIMITED EDITION BLU-RAY SPECIAL FEATURES:
New 2K restoration of the film from…
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Majestic, painterly, proto-Barry Lyndon. The Tavianis create a breathtaking account of Fulvio, a Jacobin who was inspired by the French Revolutionaries.
It’s loosely based on the life of revolutionary Pisacane, a socialist leader who greatly inspired Mussolini. And it’s a fascinating historical adaption if you’re into the unification of Italy (and of that, the Kingdom of Two Sicilies).
This film is definitely a byproduct of Andreotti’s cabinet, the Italian prime minister who took office in the 1970s and was staunchly anti-communist. It feels very critical of the idealism of revolution.
Mind you, this was made at a time when the US was rigging elections in Italy to ensure the communists wouldn’t take any considerable power. Andreotti ushered in neoliberalIsm and…
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In the sprawling tapestry of Italian cinema, the names Paolo and Vittorio Taviani are no longer likely to be the first to come to mind for film buffs, particularly those of us in the UK. Once critical darlings with an international profile established by their 1977 Palme d'Or winner Padre Padrone, the Taviani's work has proved relatively elusive here in the age of streaming. Hopefully, that looks to be changing; the BFI is currently wrapping up a two-month retrospective of the brothers' work, and now Radiance has released a Blu-ray of their long-unavailable 1974 film Allonsanfàn, a picaresque about a band of doomed Italian insurrectionists during the years of the Restoration.
Marcello Mastroianni stars as the Jacobin aristocrat Fulvio Imbriani,…
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This should have been better than it was. Now, my arbitrary 3.5-star rating isn’t exactly dooming this to the dustbins of cinematic history, but I feel like there is a legit classic somewhere in “Allonsanfan.” I can’t explain what keeps this just shy of my own perception of greatness, which somewhat made this a frustrating watch in the best way possible. If you’re confused, so am I. The point is this is a good movie with several ideas that have varying degrees of success, backed by the best Morricone score no one ever talks about.
Marcello Mastroianni is an anarchist with some of the most fabulous hair ever gifted to a self-made instrument of chaos. He’s being released from… -
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RABBIA E TARANTELLA
You know it must be Ennio if the theme of a film is much more popular than the film itself. Like in this case I only watched this because of the legendary Rabbia E Tarantella an absolute definition of a masterpiece.
I’m loving the scene in Tornatores Ennio Documentary of this film where the directors summing and cheering the theme song which suits truly awesome to the ending scene.
Otherwise I couldn’t find something that really enjoyed me in my first film from the Tavianis. But still curious for the other ones.
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The desire to dance together is the death of revolution. The yearning for an imaginary wholeness, for a magical becoming one with the revolutionary subject will lead bourgeois idealists into doom. This is such a powerful rejection of leftist romanticism (and probably one of the most thought-through post-68 films), because it evokes its very textures: a world almost entirely made up of homosocial camaraderie, rousing music, color cues, proud but sexy and willing women.
Of course, for the Tavianis in 1974 this systematic denunciation of leftist naivete wasn't an end in itself, but pointed towards a more analytical marxist perspective. When the security of an all-encompassing macro-perspective like that is gone, too, the film suddenly feels much more bitter...
What…
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Political, and perhaps ideological, disillusionment that speaks as much to (the then) contemporary time than the setting of the film circa 1816. Marcello Mastroianni as the “protagonist” (the quotation marks never felt more necessary) is perfectly cast - charisma infused with a melancholy sense of defeat is right in his wheelhouse (he seemed to leverage character weakness with more frequency than any male sex symbol qualities). What’s most interesting to me is that the source of his disillusionment (and traitorous acts) is less attached to age, fatigue, or a logical and intellectual reconsideration of his value system, but more to cowardice and self-preservation. Although I can’t tell for sure, I feel that the Tavianis are not necessarily interrogating their own…