Noi vivi (1942)

User Rating:

7.5/10   

Director:

Goffredo Alessandrini

Writers:

Anton Giulio Majano (writer)
Ayn Rand (novel)

Release Date:

November 1942 (Italy)

Genre:

Drama | Romance

Plot:

Doomed love within a corrupt political world. At 18, the beautiful and smart Kira comes to Petersburg as the Communists consolidate power...

Plot Keywords:

Aristocrat | Disillusionment | Secret Agent | Hopelessness | Self Sacrifice

Awards:

1 win

Cast

Alida Valli	...	Kira Argounova
Fosco Giachetti	...	Andrei Taganov
Rossano Brazzi	...	Leo Kovalenski
Emilio Cigoli	...	Pavel Sjerov
Giovanni Grasso	...	Stephan Tishenko
Annibale Betrone	...	Vassili Dunaev
Elvira Betrone	...	Maria Petrovna Dunaev
Sennuccio Benelli	...	Saska
Cesarina Gheraldi	...	La compagna Sonja
Silvia Manto	...	Mariska
Gioia Collei	...	La piccola Acia Dunaev
Bianca Doria	...	Irina Dunaev
Lamberto Picasso	...	Il capo della G.P.U.
Claudia Marti	...	Lidia Augounova
Evelina Paoli	...	Galina Petrovna Argounova

Also Known As:

We the Living (UK)

Country:

Italy

Language:

Italian

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Filming Locations:

Scalera Studios, Rome, Lazio, Italy

Company:

Era Film

Trivia:

The film is based on the novel "We the living" by American author Ayn Rand. Director Gofferdo Alessandrini read it and thought it would make an excellent epic, but Italy was at war with the United States and acquiring rights to the novel would be a major obstacle. Following the then laisser-faire attitude regarding what seemed at the time trivial matters, Alessandrini and screenwriter Anton Majano, decided to simply use the novel and base their screenplay on it. Whilst he was working on another film (_Nozze di sangue_), Scalera Film, the production company, asked several other writers to rewrite scenes and dialogues from the existing screenplay, but the final draft ended up being so different from Alessandrini and Majano's original screenplay that they both decided to start shooting without a script and just follow the book. They wrote the scenes at night and handed them over to the actors in the morning. As weeks went by it soon became evident that it would take longer than the customary three weeks of shooting to finish this film and that there was also enough material for two films. But nothing was said to the actors, as they probably would have requested to be paid double. Despite the fact that Rand's book is an overt criticism of the communist regime and ideology, the fascist Ministry of Culture soon became aware that Alessandrini was also using the film as a platform to criticise the Mussolini government. The shooting was interrupted several times by fascist officials who demanded to see the rushes, but Alessandrini had two edited copies of the film, one that would be in line with the fascist ideology and another one which reflected his own vision of the story. In September 1942, after nearly five months of shooting, the film was completed and presented at the Venice Film Festival where it received the highest accolade and was awarded the Volpe Cup. It went on general release in November of the same year as two separate films, "Noi Vivi" and Addio Kira! (1942) and proved to be a resounding success with the Italian public who regarded it as an indirect indictment of the Mussolini regime. But the authorities soon got wind of this and the film was banned after five months, all copies seized and ordered to be destroyed but fortunately one negative was kept and hidden. After the war, Scalera Film approached Ayn Rand to secure the literary rights to the film so it could be re-released, but she refused. A few years later, Scalera Films went into receivership and as part of the inventory of Scalera films, both Noi Vivi" and Addio Kira! (1942) were turned over to a holding company, which relegated them to a vault where they remained for over twenty-five years. It was not until the late 1960's that Ayn Rand was able to locate the original nitrate negatives, still in good condition in the vault in Rome. Both films were restored, combined into one, and released (with English subtitles) in 1986 as We the Living (1986) at the Telluride Film festival in Colorado where it received rave reviews, over forty years after its original release.

Movie Connections:

Featured in Ayn Rand: A Sense of Life (1997)

WE THE LIVING (Goffredo Alessandrini, 1942) ***1/2

I haven't watched that many Italian films made prior to the neo-realist movement but I knew of this film from "Leonard Maltin's Film Guide", so I taped it when shown on late-night TV some years ago. Though it had lain in my "VHS To Watch" pile since that time, I decided to give it a whirl now as a tribute to its leading lady Alida Valli - who died only last week!

The film's history is as convoluted as that of its narrative, which is close to 3 hours in length: the story takes place in Russia and the plot (an unauthorized adaptation of the Ayn Rand novel) naturally dealt with Communism; being a wartime production (if still handsomely mounted), it was deemed to be critical of the Fascist regime and subsequently banned! Only in 1986 was the film restored to its current form - and distributed in the U.S. to considerable success - but, unfortunately, the source print wasn't perfect (with the result that the video version suffers from some distracting fuzziness, particularly towards the end)...

Despite its epic scope, the film is decidedly talky and necessarily heavy-going in nature; but the acting (featuring perhaps romantic idol Rossano Brazzi's finest performance) is terrific and, as a whole, the narrative anticipates another troubled wartime epic - Marcel Carne''s masterpiece CHILDREN OF PARADISE (1945), particularly in the way Valli is pursued by a number of suitors throughout the film but ends up alone by the end of it.

The only other film by director Goffredo Alessandrini I've watched is ABUNA MESSIAS (1939), another historical piece but - ironically enough - a propagandist one! In the end, with all the celebrated classics that have emerged from Italy along the years by any number of influential auteurs, WE THE LIVING remains - with good reason - an important film and, undeniably, one of the most impressive (if largely unsung) ever made in that country.