Marco Bellocchio’s Haunting Reimagining of the Moro Affair
The Enduring Tragedy of Aldo Moro
Marco Bellocchio, the renowned Italian filmmaker, has long been fascinated by the tragic and deeply symbolic story of Aldo Moro, the Italian politician kidnapped and murdered by the Red Brigades in 1978. In his 2003 film Good Morning, Night, Bellocchio offered a poetic and devastating interpretation of Moro’s ordeal, ending with a haunting but hopeful vision: Moro walking free from captivity, seemingly unbroken after 55 days in a cramped cell. Now, nearly two decades later, Bellocchio revisits this defining moment in Italian history with Exterior Night, his first television series. This time, the story unfolds over five and a half hours, allowing for a more expansive exploration of the events and their resonance. The series, now streaming in the U.S. on MHz Choice, captures the complexity of Moro’s fate while also offering a reflection on the fragility of democracy and the dangers of political complacency. As one character ominously remarks, "A society can tolerate a certain amount of crazy behavior, but when the crazy party has the majority, we’ll see what happens."
A Watershed Moment in Turbulent Times
Moro’s abduction and death marked the climax of Italy’s "Years of Lead," a period of political violence that included bombings, assassinations, and kidnappings. Yet, the story transcends its historical context. It speaks to anyone who feels the weight of living in uncertain times, where the boundaries between order and chaos seem increasingly blurred. The series does not shy away from the mystery and moral ambiguity surrounding Moro’s fate. Why did his own government refuse to negotiate his release, despite the likelihood that he would have become president later that year? Why did the Red Brigades, knowing that killing Moro would cripple their cause, carry out the execution anyway? These questions, as unanswered today as they were decades ago, form the backbone of the series. For Bellocchio, Moro’s story is not just a historical event but a parable about power, betrayal, and the human cost of political decisions.
From Film to Television: Expanding the Narrative
While Good Morning, Night focused on Moro’s relationship with a young female captor who begins to question her role in his imprisonment, Exterior Night broadens the scope. The series delves into the lives of those affected by Moro’s abduction: his grief-stricken mentee, Justice Minister Francesco Cossiga; Pope Paul VI, who appeals for Moro’s release; and Moro’s wife, Eleonora Chiavarelli, played with remarkable nuance by Margherita Buy. The expanded format allows Bellocchio to incorporate a wide range of characters, including bodyguards, politicians, police officers, and even a mysterious American consultant whose role adds another layer of intrigue. The series shifts seamlessly between these perspectives, creating a mosaic of reactions to Moro’s fate. Some characters are consumed by guilt, others by opportunism, and others by a chilling indifference. Together, they paint a portrait of a nation in crisis and a society grappling with its own moral failings.
Blending Style and Substance
Bellocchio’s signature style is as much a character in the series as the historical figures themselves. He moves with ease between stark realism and moments of surrealism, capturing the surreal quality of the events. In one memorable scene, Cossiga follows a lead into a mental hospital, resulting in a Fellini-esque descent into chaos. Elsewhere, the ineptitude of the police and the posturing of the military are treated with a subtle, almost slapstick humor. These touches of wit and absurdity never undermine the gravity of the subject matter; instead, they highlight the absurdity of the situation and the moral bankruptcy of those in power. The series is also rich in political intrigue, recalling the work of Costa-Gavras, while simultaneously exploring the personal toll on Moro’s family. Margherita Buy’s performance as Eleonora Chiavarelli is particularly compelling, conveying both her strength and her despair as she tries to navigate a system that seems determined to abandon her husband.
Moro as a Ghostly Presence
For much of the series, Moro himself is a haunting absence, a ghostly figure who appears in the nightmares and guilty visions of those who failed to save him. Yet, in one of the most powerful scenes, Moro is suddenly and vividly present. Based on an apocryphal incident from his captivity, the scene shows Moro in a harshly lit cell, confessing his anger, despair, and sense of betrayal. Fabrizio Gifuni delivers a masterful performance, capturing Moro’s intellectual rigor and emotional vulnerability. The setting—a confined, almost claustrophobic space—underscores the theme of imprisonment, both literal and metaphorical. As Bellocchio suggests, Moro’s cell is not so different from a confessional booth, a place where secrets are revealed and sins are confessed. For Moro, the greatest sin is not his own but that of the political class that abandoned him.
A Legacy of Provocation and Genius
At 85, Marco Bellocchio remains one of the world’s most vital filmmakers, with a body of work that includes classics like Fists in Pocket, China Is Near, Good Morning, Night, and Vincere. While Exterior Night may not reach the same heights as some of his earlier films, it is a deeply intelligent and moving work that reminds us of his mastery of both narrative and atmosphere. The series is a testament to his ability to balance historical detail with emotional depth, his willingness to provoke, and his refusal to simplify complex truths. With Exterior Night, Bellocchio once again challenges us to confront the past and think critically about the present. His latest project, an upcoming Italian drama for Max called Portobello, is already generating excitement, ensuring that this filmmaker will continue to be a major cultural force for years to come.
