He also shares that Steven Spielberg and Julian Schnabel considered telling the story.
, Bellocchio discussed American creatives who considered making the film, his personal evolution from being a member of the pro-Maoist China group Union of Italian Communists and making politically militant cinema to today, his family and more.Well, I didn’t spend too much time investigating [my motives] but when I read about this kidnapping, I read about Edgardo Mortara, I also read that an illustrious colleague, Steven Spielberg, wanted to do this story.
When the child is kidnapped, he immediately seems to accept the new religion, this new father, because there are no mothers. However, in writing the script with Susanna Nicchiarelli, we have sudden outbursts, from the child and the teenager, which reveal he’s not so peaceful. Is there a connection, or an echo, in the dialogue I heard between the two brothers about religion, about having a God or not having a God.
You have a way of showing, even in less political films, Italy as it is and also as it could have been, if it had made a different choice at a certain point. Is this fact that things did not go as they could have, a conflict for you? Well, the expectations were quite… religious, quite… a beautiful, generous utopia. But I have never fallen into the delirium, or subversion, of a catastrophe from which a new society would be reborn. No, neither did my brother. We bordered on a strong left radicalism, but I have to say that I watch with more interest, even though I know very well that I’m more of an observer in a world where … there are signs of catastrophe, real ones. In politics, too.
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