1. Education
Roberto Faenza pursued his higher education with a focus on both academic and artistic disciplines. He received a degree in Political Science, providing him with a foundational understanding of social structures and power dynamics that would later heavily influence his cinematic works. Following his university studies, Faenza further honed his craft by earning a diploma at the prestigious Centro Sperimentale di Cinematografia in Rome, a national film school where he completed his director's course in 1965. Early in his academic journey, he also studied at the University of Turin's philosophy department.
2. Filmography
Roberto Faenza's directorial career is marked by a blend of political critique, social commentary, and a strong inclination towards adapting literary works, showcasing a consistent thematic and stylistic development.
2.1. Debut and Early Works
Faenza made his directorial debut in 1968 with the internationally successful film Escalation. This film explored the multifaceted nature of power through the intricate relationship between a middle-class father and his hippie son, reflecting the societal shifts of the era. Immediately following this, in 1969, he directed H2S, a raw and angry critique of the 1968 movement and consumer society. The film was seized by authorities just two days after its release and has not been distributed since, underscoring its provocative nature.
2.2. Political and Social Commentary
Faenza is widely recognized for films that bravely confront Italian politics and society, often leading to controversy and censorship. His politically incisive approach led to him being considered a "politically incorrect" director by some, which at times necessitated seeking financing outside of Italy.
In 1978, he directed Forza Italia!, a scathing satire on the power and influence of the Italian Christian Democrat party. The film spanned thirty years of Italian political history, offering a critical look at the political establishment. Its release was notably controversial: it was withdrawn from theaters on the same day Aldo Moro, the then-president of the Christian Democrats, was kidnapped by the Red Brigades. The film remained banned for over 15 years. In his handwritten memoirs, later discovered in the Red Brigades' hideout, Aldo Moro famously recommended seeing Forza Italia! "if one wants to realize the recklessness of his fellow party members," highlighting the film's perceived accuracy and impact.
In 1980, Faenza turned his critical lens to the Italian Communist Party with Si salvi chi vuole. This continued his commitment to examining the dynamics of power and political ideology within Italy.
2.3. Literary Adaptations
A significant aspect of Faenza's filmography is his consistent practice of adapting literary works into cinema, drawing from a diverse range of authors and narratives. These adaptations often allowed him to explore complex psychological and societal themes.
2.3.1. Major Literary Adaptations
Faenza has adapted numerous novels and autobiographies, translating their narrative depth into cinematic experiences.
In 1990, he directed The Bachelor (original Italian title: Mio caro dottor GräslerItalian), based on Arthur Schnitzler's novel Doktor Gräsler, BadearztGerman. The film featured a wide array of international actors, including Keith Carradine, Miranda Richardson, Kristin Scott Thomas, and Max von Sydow.
His 1993 film, Jonah Who Lived in the Whale, was a powerful adaptation of Jonah Oberski's autobiography Childhood. Starring Juliet Aubrey and Jean-Hugues Anglade, the film depicted the harrowing experiences of a young boy named Jonah and his parents sent to a Nazi concentration camp, shedding light on a dark chapter of human history. The film received significant recognition for its poignant portrayal.
Two years later, in 1995, Faenza adapted Antonio Tabucchi's novel Sostiene Pereira. This film, which starred Marcello Mastroianni in his last Italian film role, was highly praised.
In 1997, he directed Marianna Ucrìa, based on Dacia Maraini's novel La lunga vita di Marianna UcrìaItalian (1990). The film starred Emmanuelle Laborit and Bernard Giraudeau.
His 1999 film, The Lost Lover, was inspired by the bestseller by Abraham B. Yehoshua and explored the enduring conflict between Jews and Palestinians. The film featured Ciarán Hinds and Juliet Aubrey.
In 2002, Faenza directed The Soul Keeper, a drama based on the intense relationship between the psychologist Carl Gustav Jung and his young Russian patient Sabina Spielrein. The film starred Emilia Fox and Iain Glen.
Come into the Light (2004) depicted the life of Pino Puglisi, a parish priest who was murdered by assassination by the Sicilian Mafia in Palermo in 1993. Luca Zingaretti played the lead role in this film, which highlighted themes of courage and social justice in the face of organized crime.
In 2005, Faenza directed The Days of Abandonment, an adaptation of the novel by Elena Ferrante. The film starred Margherita Buy, Luca Zingaretti, and featured music by Goran Bregović.
He continued his work with literary adaptations in 2007 with I Vicerè, based on the 1894 novel by Federico De Roberto. In 2009, he directed Il caso dell'infedele KlaraItalian.
One of his later works, Someday This Pain Will Be Useful to You (2011), was filmed in New York City and adapted from Peter Cameron's 2007 novel. The cast included Ellen Burstyn, Marcia Gay Harden, Toby Regbo, Peter Gallagher, Deborah Ann Woll, Lucy Liu, and Stephen Lang.
His more recent films include Anita B. (2014) and The Truth Is in the Sky (2016).
2.4. International Productions and Collaborations
Faenza's career has extended beyond Italy, encompassing international co-productions and collaborations with renowned global talent, often necessitated by his controversial themes that made domestic financing difficult.
In 1983, he filmed Copkiller (also known as Corrupt) in New York City. This film featured an international cast including Harvey Keitel, Nicole Garcia, and Johnny Rotten, the former frontman of the Sex Pistols.
His later film Someday This Pain Will Be Useful to You (2011), was also shot in New York with a notable international ensemble cast. These projects allowed Faenza to broaden his creative scope and reach an international audience.
3. Other Ventures
Beyond his extensive work in filmmaking, Roberto Faenza has also dedicated himself to a career in academia and writing. He is the author of several essays and books, with notable titles including Senza chiedere permesso (Without Asking Permission), Il malaffare (The Misconduct), and Gli americani in Italia (The Americans in Italy). Upon his return to Italy after spending time in the United States, he began teaching Mass Communication at Pisa University, sharing his insights and experiences with new generations.
4. Awards and Recognition
Roberto Faenza has received significant acclaim and numerous awards for his directorial work, reflecting his impact on Italian and international cinema.
For Jonah Who Lived in the Whale (1993), he was awarded the David di Donatello for Best Director. The film also won the Prix of Ecumenical Jury at the 18th Moscow International Film Festival.
His 1995 film, Sostiene Pereira, saw its lead actor Marcello Mastroianni receive a David di Donatello for Best Leading Actor.
In 1997, Marianna Ucrìa earned Faenza the Italian Golden Globe for Best Director. The film was also entered into the 20th Moscow International Film Festival.
The Soul Keeper (2002) received a nomination for the Silver Ribbon for Best Screenplay.
For Come into the Light (2004), Faenza received a nomination for the European Academy Award (EFA) for Best Director in 2005. The film also garnered several other accolades, including the David Giovani Best Film Award, the Flaiano Best Leading Actor Award, and the Audience Award for Best Film at the Karlovy Vary International Film Festival in 2005. Additionally, it received the San Fedele Best Film Award.
His 2005 film, The Days of Abandonment, was nominated for the prestigious Golden Lion at the Venice International Film Festival.
5. Critical Reception and Societal Impact
Roberto Faenza's films have consistently garnered critical attention for their distinctive themes and often controversial subject matter, making a notable impact on Italian cinema and society. From his early works like Escalation and H2S, he established himself as a director keen on exploring power dynamics and critiquing societal norms. H2S, in particular, showcased his readiness to challenge the establishment, leading to its immediate seizure.
His fiercely satirical Forza Italia! stands as a testament to his uncompromising approach to political commentary. The film's critical portrayal of the Christian Democrats, so accurate that it was endorsed by Aldo Moro himself, highlights Faenza's influence in provoking public discourse and revealing uncomfortable truths about Italy's political landscape. His readiness to tackle the Italian Communist Party in Si salvi chi vuole further cemented his reputation as a "politically incorrect" filmmaker who refused to align with any single political ideology uncritically. This independent stance sometimes forced him to seek international financing, demonstrating his commitment to his artistic vision regardless of the financial hurdles.
Through his extensive literary adaptations, Faenza continued to explore profound human and social issues. Jonah Who Lived in the Whale, with its focus on the experiences within a Nazi concentration camp, underscored his engagement with themes of human rights and historical trauma. Similarly, The Lost Lover tackled the sensitive and ongoing conflict between Jews and Palestinians, demonstrating his willingness to address complex international humanitarian concerns. His film Come into the Light, portraying the assassination of Pino Puglisi by the Mafia, further emphasizes his commitment to films that champion social justice and expose societal ills.
Faenza is recognized as a director who, alongside contemporaries like Bernardo Bertolucci and Marco Bellocchio, represented a wave of "protest" filmmakers in Italy, using cinema as a powerful medium for social and political critique. His body of work consistently challenges audiences to reflect on issues of power, freedom, and the human condition, solidifying his legacy as an influential and socially conscious voice in Italian cinema.
