Directed by Marco Bellochio

Peppercorn-Wormser/ The Criterion Collection

4 Stars

Marco Bellocchio’s “Fists In the Pocket” follows a murderous epileptic as he begins killing his stuffy, embarrassing family. Oh, and he’s in love with his sister, his first victim is his blind mother, and his second victim is his mentally disabled epileptic brother.

It’s an audacious directorial debut, particularly for Italy in 1965, still trying to stitch itself together after the war and, cinematically, completely in the thrall of neo-realism, which was just beginning to peter out. Along with Bernardo Bertolucci’s debut, released the year before, “Fists” heralded a new period in Italian cinema.

But, “Fists” is also entertaining, even now. Families are often embarrassing and it is fun to watch one be torn apart with skillful gallows humor, rather than the drunken depression of an O’Neil play, the pretention of the Danish film “The Celebration,” or the frustrating bathos of “The Family Stone”-esque American amusements.

The movie’s anchor is Lou Castel as the murderous epileptic. It’s a tough role, requiring complete intensity and detachment simultaneously; he makes the audience love and hate him without being able to lost sight of him. His character has a picture of a young Marlon Brando in his room; it’s an apt comparison.

When the older brother—a picture of bourgeoisie smugness—brings the murder out socially, his detachment is reminiscent of Christian Bale’s performance in “American Psycho.” It’s a scene that will remind college viewers of one too many dorm parties, with their esoteric meaningless ritual.

Most surprising was the director’s enthusiasm for the incest plot narrative. It is not exploitive; their love is the only thing that seems to bring these people happiness and I found myself voting for the success of their love. There is also the excitement murder can bring to people whose lives seem to have no purpose. Art’s greatest purpose is to ask the questions no one else can answer and “Fists” certainly brings up a lot of questions, while refusing any easy answers. It’s certainly a unique viewing experience.



—Reviewer Scoop A. Wasserstein can be reached at wasserst@fas.harvard.edu.