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The third writer was the director Daniele Luchetti. (The writers adapted a novel by Antonio Pennacchi called Il Fasciocomunista, a title that really does fit.) This is Luchetti's eleventh film, and from moment one we know that we are in the hands of a director whose experience has made him impatient. He has no time for trifling or beautifying. He implies all along that film is important and screen time must be used. Nonetheless, or perhaps thus, the most rewarding elements in the picture are personal habits, interplay, small stuff--broken gestures, averted glances, unfinished sentences. Luchetti and his actors give their picture a strong sense of cultural verity, of Italian-ness, even when the screenplay moves into computerized arrangements.
Accio is the adolescent younger brother of Manrico. When the film begins, in 1962, he is in a seminary, but he leaves because of dissatisfactions and is drawn to the still-alive Fascist Party. Cut off from religious life, he is attracted by the idea of an omnipotent figure (Mussolini is still on headquarters walls), the discipline and patent purpose. He fights, often in truly rough roughhousing, with Manrico, who is a communist. Their differences lead to adventures and misadventures as they grow older, including relations with Francesca, who first appears as Manrico's girlfriend.
