INTRODUCTION

In the years surrounding WW II, Italian/American culture was assaulted by the majority milieu.  The Italian language was stigmatized and mandated not to be spoken under pain of being vilified as a Fascist sympathizer.  The alleged pathetic performance of the Italian army became an excuse to mock Italian/Americans.   Hollywood, the ultimate purveyor of majority culture, recast the 1930’s macho gangsters into Frank Sinatra acting the Italian American Gunga Din, in “From Here to Eternity.”

 “Hey, Angelo!  How do soldiers salute in the Italian Army?”  The tormentor then raises both arms straight into the air as in - “I surrender.”  Everybody laughs – except Angelo.  Italian/Americans were subjected to untold variations of this “joke”.  The Italian army came away from WW II with the reputation of a cowardly farcical excuse for an army.  It is impossible to know how many playground fights, street corner rumbles, and barroom brawls were initiated by such “jokes”; or how many more - gentler souls - just suffered these ‘insults’ in silence.  

In those days, Italian/Americans deemed such jokes worthy of a fight, because Italy and Italians were not scholarly abstractions or popular cultural images.  To be an Italian/American then; was to have parents or grandparents, aunts and uncles, friends and neighbors who were “off the boat” (as they use to say).  Southern-Italian dialects were alive and southern-Italian culture permeated every aspect of life in the neighborhoods know as “Little Italy”.  The stores, the newspapers, the radio programs, the forms of entertainment, the church services, etc. all manifested southern-Italian culture in varying degrees.  In short: an insult to Italy was a personal insult to a southern-Italian/American’s family, friends and culture.

By the 1960’s WW II was fading from memory and the southern-Italian culture in America was in advanced stages of dissipation; or, assimilation as some say. The culture largely disappeared with the exception of a few ‘fossilized’ remnants, like the Little Italy nostalgia museums and festivals in some cities.  Accordingly, the jokes about Italian soldiers disappeared.  (Although, scuttlebutt has it that presidential candidate John Kerry said: “The Iraqi army was so weak that even the Italians could defeat them.”) Herein lay the significance of film “Captain Correlli’s Mandolin” for Italian/Americans.  It represents the majority cultures rapprochement with Americans of southern-Italian descent.  It is the first ‘mass media’ majority pop cultural event - a mass marketed film with headline stars – debunking the cowardly/farcical image and depicting the Italian soldier nobly.  The purpose of this critique is to explicate the ideas and aesthetic qualities of the film as they pertain to the experiences of the southern-Italian people in America.

Literary Quality of “Captain Correlli’s Mandolin”

The literary quality of this film results from the dialectical characterization of Correlli and the other Italian soldiers. The issue of cowardliness/farcicalness is not simply ignored and the ‘un-coward’, so to speak, substituted in its place.  The Italian soldier is not turned with the ‘snap of a finger’ into a ‘John Wayne’ or ‘Rambo’ -  bullets slug about the neck, bayonet in mouth, charging the enemy impervious to fear.  On the contrary, the film vividly presents the popular 1940/50’s image of the cowardly/facial soldier in the person of Captain Correlli and his men, then goes on to explain the source of the cowardly/facial impression, and finally evolves the inner dialectical ‘other’ – the Italian hero.

Accordingly, this critique’s purpose is to explicate the film’s plot in terms of Correlli’s evolutionary change in dialectical poles (farcical – hero).   While the film in essence may reasonable be judged a cliché - ‘love triangle’/‘fortunes of war’/‘soap opera’- the complexity and evolving Correlli character gives it a literary quality that should appeal to film literature aficionados. 

Critical Method

The critical method of explicating the film will be to analyze the ‘components of the dramatic structure’ as it is laid out in the film’s script.  ‘Components of dramatic structure’ being understood in classical terms of literary criticism: exposition, rising action, crisis, falling action, etc.  The film will be allowed to speak for itself.  The ideas in the film are expressed clearly and unequivocally.  This critique simply draws attention, and gives emphasis to the relevant scenes and dialogues pertaining to the character of Italy’s soldiers during the Second World War.

EXPOSITION

The film starts with a series of exposition scenes introducing the Greek island Cephallonia where all the film’s action takes place.  Filled with romanticize images and dialogue of simply people living happily without the complications of urban industrialized society, Cephallonia is a pastoral community where ancient peasant cultural traditions are still practiced.  Also, the lovely Pelagia, Correlli’s major antagonist, foil and lover, and her betrothed Mandras (minor antagonist) are introduced. 

The exposition ends with a wonderful cinematic poetic scene: twilight time in the village square with a few children playing and a voice-over radio broadcast announcing Italian aggression against Greece on the Albanian border.  The scene represents the end of the happy pastoral period of the island life symbolized by the waning sunlight, and the beginning of strife symbolized by the lengthening shadows and war news. 

Transitioning from the film’s exposition to the rising action; Mandras and the other men of the island join the army and go off to fight the Italian invaders.  They are wildly successful.  Pelagia runs excitedly to tell her father:  “We won! 8,000 Greeks defeated 14,000 Italians.”  Her father is not impressed, he prophetically says: “Hitler will never let his lapdog be humiliated. He will come to Mussolini’s aid.”  As predicted, Germany invades, conquers Greece, and its Italian Allies are sent to occupy Cephallonia.

The significance of this scene is the characterization of the Italian army as incompetent (14,000 defeated by 8,000) and “Hitler’s Lapdog.”  This is the beginning of the film’s denigration of the Italian Army.  It will continue throughout the rising action until a climatic act, leading to the falling action and ultimate catastrophe, reverses the image of a denigrated army into a heroic one.  However, the heroic Italian does not suddenly appear in one melodramatic “deus ex machine” scene.  Rather, the Italian character evolves dialectically throughout the rising action. 

RISING ACTION

(i.e. the part of the plot in which the conflict between the protagonist Italians and antagonist Greeks is developed)

The film’s rising action consists of a series of scenes that can be characterized as a metamorphic process whereby the inner hidden reality of the heroic Italian soldier slowly comes to fore replacing the ostensible farcical/adolescent.  Throughout the rising action, there are very clear, albeit subtle indications (hints), that the ostensive images of farcical/adolescence are illusions masking the reality of Italy’s soldiers; as demonstrated in the following 10 rising action scenes.

1. “Belle Bambina” scene

The Italian Army comes to Cephallonia.  The ships are unloading equipment and men.  And women!  In this scene, the farcical character of the Italian Army is introduced.  Off the war ships come laughing young women wearing flimsy pastel sundresses and caring parasols.  They look and act like they are getting off a cruse ship making a port call.  What kind of army travels with floozy women?

Captain Correlli appears for the first time with the Italian army marching into town.   Commanding a marching formation, he sees Pelagia.  Unencumbered by his position as an officer leading a marching formation, a big adolescent like grin comes across his face as he announces to his men: “Belle Bambina at 2 o’clock.”  Giving a command to salute the lady, he salutes and the whole formation turn their heads to the right in manner of a marching salute.  As the formation passes, reinforcing his farcical image, Correlli is seen with a mandolin strapped to his back.  Thus, the first appearance of the Italian Army is a farcical army: silly girls on board ship, marching soldiers saluting girls on the street and an adolescent like grinning Captain who cares a mandolin while leading his men in a military formation.

Although this prima facie evidence of farce is compelling, there is a hint, ever so small nevertheless real, that there may be more to this army than meets the eye; a hint of an obscure reality that will be missed by viewers who have never suffered ‘close order’ military drill practice with an army  drill instructor.  One who has will notice that the Italian soldiers are marching in perfect formation, all motions are in unison, and no solider is out of step.  The farcical salute to the lady is prefaced with a military expression “...at 2 o’clock”, and the salute of all the men in the formation is executed in meticulous unity – no more would be expected if they were saluting a general. 

The Italian Army presented as farcical also shows signs of being well trained and disciplined.  This is the first hint that there’s more to the Italian Army then seen – a concealed subliminal character beneath the ostensible farcical surface.  There will be many more such ‘hints’ of this hidden reality until it finally and completely displaces the ostensible; manifesting itself in full form.

2. “F--- off” scene

Next we see the Italian Army standing in front of the town’s administrative buildings.  A soldier knocks politely on door and steps back.  A town official emerges and hands the soldier a piece of paper in the manner of an aristocrat tipping a bellhop.  The Italian general sends Captain Correlli, still wearing his mandolin, to read the message.  He reads aloud: “f--- off”.  All the observing town people laugh and applaud.  With impunity, town officials and residents mock the Italian Army. 

The frustrated general has Captain Correlli inform the mayor:  “If he does not surrender the building in five minutes, the army will storm it and take by force.”  The mayor, unimpressed, responds with another note read by Correlli: “We refuse to surrender to a nation we defeated in Albania.  We reserve the right to surrender to a German officer of significant rank.  So f--- off!”  Again, the town people laugh; not in the least intimidated by the Italians, they mocked and ridiculed them.  What’s more, the Italian General agrees to the terms.  He sends for a German officer, which clearly takes much more that five minutes as the officer is shown driving to the town hall.

A German captain comes to accept the surrender.  The mayor at first refuses because he is of such a low rank.  But, after being told that the captain was the highest-ranking German officer on the island, the mayor concedes and says: “Surrendering to the [ German captain’s] dog is more appropriate than surrendering to an Italian.”  After this final insult, he and the rest of the officials walk away from the building confidently, arrogantly and dismissively brushing pass the Italian general who seems to move out of their way uncomfortable and embarrassed.

This whole scene depicts the Italian Army as ridiculous, helpless and farcical.  However, again; another ‘hint’ that there maybe more to this army than ‘meets the eye’.  All the soldiers are arrayed in the village square in perfect military dress and formation – impeccable military decorum.  Whatever else one may think about them; it cannot be said the Italians are slovenly. 

Twice now we have seen the dialectic between the ostensive Italian farcical soldier and the hint of another obscured professional soldier: well trained and disciplined.  The next scene develops this dialectic in more detail.

3. The Opera Society scene

This scene opens showing the Italian base camp; images of soldiers setting up artillery positions, squads of men marching and jugging in formation, and the overall military layout of the camp are inconsistent with previous impressions of farcical incompetence.  Another hint that these Italians are in fact disciplined professional soldiers.  However, the ostensive imagery of farce immediately overwhelms the hint of professionalism.

Captain Correlli and his men are in their tent washing, shaving and dress while singing a truly beautiful multi-voice a cappella operatic piece.  Correlli, his face clownishly half covered with shaving cream walking about waving his razor blade like a baton, is directing them in the manner and with the vigor of a concert maestro.  A new soldier (Carlo) enters the tent with the look of amazement and perplexity.  He introduces himself as a veteran of a particularly note worthy division that fought in Albanian.  Correlli and the other men upon hearing the name of Carlo’s division fall into a respectful almost reverent silence.  Correlli says: “we have not been in combat but you (Carlo) have seen enough for all of us.” 

This seriousness is yet another hint that behind the adolescent facades are professional soldiers - but just for a slight moment.  As if recovering from a faux pas of seriousness, Correlli tells Carlo that all the men in his artillery battery are members of the “Opera Society” and tries to get him to sing.  The look of perplexity returns to Carlo’s face.  A combat veteran, he does not know what to make of this farcical group of soldiers and their captain.

Carlo’s countenance throughout this extended introduction is significant.  That he finds perplexing the behavior of Correlli and his men is indicative that the behavior is not representative of the Italian Army.  Clearly, Carlo has not seen anything like this before.  Yet, the film continues to emphasize the farcical, still only hinting at the professional.

4. The Doctor’s house scene

Leaving the singing joking farcical Correlli; the scene changes to the house of Pelagria’s father, the town doctor.  A soldier is telling the doctor that an Italian officer is to be billeted in his house.  The doctor protest vigorously.   The soldier speaking like anything but a member of an occupying army apologizes, he says:  “I am sorry to say and with great regret that my orders are to billet an officer in your home.”  The doctor continues to protest.  The soldier pleads:  “Sir, these are my orders.”  The doctor responds:  “I don’t care.  I don’t recognize your authority.”    And, again, as in the town square, the Italian Army in the person of this soldier seems willingly to absorb these insults. It is only when the doctor realizes that the solider is a quartermaster and has access to medical supplies that he strikes a bargain.  He will accept the officer if the quartermaster will provide him with medical supplies.  The deal is done.  Again, as with the Mayor, the Italian army is treated with disrespect and contempt and can only get what it wants after making concessions.  What kind of an army is this that must negotiate with an unarmed conquered people?

Correlli comes to the house with his driver Carlo.  Walking up to the house with his now customary adolescent grin, he meets Pelagia.  He is polite and respectful and he introduces Carlo:  “This man is one of our hero’s.  He has a hundred metals for saving lives and none for taking them.”  Pelagia responds, as the mayor and her father before her, with insult and impunity: “A brave Italian is like a freak of nature.”   Correlli does not take offence, he replies: “Said like a true Greek patriot.” 

The doctor then comes out ordering (not asking) a captain in the Italian Army into the house and proceeds to lecture Correlli, in the manner and tone of a parent to a child, about the behavior of the Italian Army in other parts of Greece.  Correlli in turn responds like a child being lectured.  His shoulders hunch, arms wrapped fetally in front of him, he looks perplexed, and he pleads, like a wronged child, that he had nothing to do with the events the doctor is talked about.  This is an officer in a conquering army?  The scene goes on with Correlli continuing to absorb the insults of the doctor and his daughter.  The farcical nature of the Italians is relentless from the beginning to the end of the scene. 

5. Artillery Practice scene

With Correlli seeming more a child than an army office, the scene ends abruptly and the action without seque switches to Italian soldiers commanded by Correlli have artillery practice.  Here, for a brief instance, we see a very different Correlli.  He is masterly commanding well-trained, efficient and combat ready artillerymen.  No silly smile!  No singing!  No Mandolin!  Rather, the demanding commander of a fighting force; complementing the action, the background music congers the feeling of power and force.

This scene is very significant.  Just when the film has the viewer convinced that these Italians are nothing but fools and Correlli nothing but a child; the contradictory dialectical ‘other’ hidden character is spliced into the action.  The artillery practice scene is not in anyway connected to post or prior scenes.  It is an enigma.  What dramatic purpose does it server?  Is it another hint that the prima facia farcical Italian is not reality?  The film keeps hermeneutically revealing the ‘other’Italian soldier – the professional – hidden behind the facade of the clowning adolescent. 

6. War and innocent pleasure scene

Just as quickly and inexplicably as the artillery practice scene began, contradicting the childlike character of Correlli, it ends and we see Correlli playing with a child.  Pelagia calls the child away.  She does not want her playing with an Italian.  Correlli responds:  “In times of war we have to make the most of what little innocent pleasure there is.”  Correlli implies that there maybe “method in his madness.”  The foolishness is not a manifestation of a fool.  Rather, a man trying to cope.  Aanother hint that we have yet to see the real Correlli or the real Italians.

7. “My friends” scene

 The clown Correlli still very much present comes home after a night of drinking and partying with the men in his unit.  Pelegia vicioiusly denigrates him: “I thought you were a solider”, she says sardonically.  “Is everything a joke to you”, she asks rhetorically. 

The next day Mandras comes to the house.  Recovered from wounds inflected fighting the Italians on the Albanian front, he tells Pelagia he is going off to join the Partisans.  Obviously a brave hero, he volunteered to go to Albania, came home badly wounded and now going off to war a second time.  Seemingly, he is the anti-Italian Correlli: brave, self-sacrificing and idealistic. 

Correlli comes into the house.  Mandras brags: “8,000 of us defeated 14,000 of you”.   Correlli tries to avoid conflict.  But, then Mandras refers to “...your German friends.” 

Correlli stops and turns.  He is transformed.  His face!  No clowning adolescent grin.  Rather, David’s reaching for his sling.  There is no sign of the farcical Correlli we have seen thus far.  This is a Correlli not seen before in the film.  Captain Correlli the man, the solider, the officer in the Italian Army only hinted at in previous scenes is for the first time fully manifest.  Walking up to Mandras with resoluteness, staring into his eyes, he speaks: “My friends are the men in my battery, the people I grew up with, the people of my home town.” 

Mandras the war hero thus confronted by the hither to fore adolescent clown is taken by surprise.  He retreats, quickly changing the conversation to a lighter tone.  Indeed, he assumes the role of the clown and then gives Pelagia a long passionate kiss at which point Correlli once again reverts to his boyish role.  Embarrassed, he lowers his head, shoulders drupe; arms fetal.  The adolescent is back, the brave soldier hidden once again.  However, there is no doubt at the end of this scene that while Correlli may act out the role of farcical soldier and adolescent clown he is in fact very much a man of resolve.  But the transformation is not yet complete.

8. The beach party scene

After the confrontation with Mandras the action moves to the beach where Correlli and his men and their women are having a party.  The women are literally half naked; they are singing and frolicking in the waves.  The German officer who accepted the surrender of the mayor at the town hall comes on to the beach.  He attempts to be friendly and jokes, “You are much better at having parties than negotiating surrenders.”  Correlli responds with self-deprivating humor: “We are Italians famous for singing, eating, making love.” Pelagia sees them and is sickened to think of all the suffering Mandras and the other men of Greece experience while these Italians are have a beach party.

The revelers bring Correlli home to Pelagia’s house.  They look like college kids after a party, singing and joking.  Farcical Italian solders!  The clown Correlli comes into the house and sees Pelagia.  Her contempt for the farcical Correlli cannot be contained.  She points a pistol at him. 

Again, when confronted with aggression the child soldier disappears and the dialectical ‘other’ hidden Italian professional soldier comes out.  Correlli shows no fear or panic.  He does not plead with her to put the gun down.  Rather, he walks calmly towards her, stanches the gun from her hand, deftly removes the bullet clip and clears the chamber like a well trained competent soldier. Again, the juxtaposition of the farcical and the competent soldier: which is illusion, what is reality?

9. The Turkish mine scene

A mine is found on the beach.  Correlli is called.  He immediately identifies it as a Turkish mine from the Great War.  He decides to blow it up.  He has a protective bunker built at what he judges to be a safe distance.  But the detonating wire is not long enough to reach from the mine to the bunker.  He has it rebuilt closer, has all his men removed to a safe distance and sets off the explosion himself.  The explosion injures him.  The significance of this scene is that once again Correlli demonstrates his military knowledge, skill and courage.  He identified the mine, accurately judged its explosive power, and courageously detonated it when he knew he was in “harms way.”  No sign of the clown.

10. Morality scene

Back to the village square and farcical soldiers; Correlli and his men are again seen singing, laughing and drinking.  But, the conversation turns serious and revealing.  It is reported: “The Allies have landed in Italy.”  An Italian soldier happily cheers: “We can all go home then.”  The German officer asks rhetorically: “You really want this war to be over?  What is wrong with you Italians?”  Correlli waxes philosophical:  “...it’s morality that counts.”  “What is that morality,” the German asks? Correlli responds: “If I were to see that man being set upon by others, I would think that man my brother.” 

FALLING ACTION and Catastrophe

The above ‘morality’ scene represents a turning point of the plot’s dramatic structure.  The rising action characterized by conflict between the Italians and the Greeks and Italians depicted as fools with only hints of professionalism comes to an end.  From this point forward the falling action, characterized by a bond between the Greeks and heroic Italians, leads to catastrophe and tragedy for the Italian soldiers.  Tragedy in the ancient Greek dramatic sense:  Men facing and meeting their painful destiny heroically.

In subsequent scenes, the announcement is made that, with the fall of the Mussolini government, Italy has withdrawn from its German alliance and the war.  The Italian soldiers are elated about going home.  But, Germany turns on its former allies with a vengeance and the Italians end up siding with the Greek partisans fighting against the Germans.  Adolescent/farcical Italians playing mandolins, singing songs and having parties are seen no more.  The metamorphous is completed. ‘The other’ competent heroic Italian soldier finally and completely replaces the farcical Italian soldier.  The farcical indifferent solider is gone replaced by a mighty ideologically motivated warrior. The competent and noble Italian soldier continually hinted at throughout the film’s rising action manifests itself fully and finally  – “Across my chest I throw my warlike shield, lay on…[I will not yield!] Macbeth     

CONCLUSION– “Hey Angelo...”

If films like this had been produced in years following WW II, the Angelos of Little Italies may have fought far fewer fights.  When confronted by tormentors mocking Italy and her soldiers; instead of charging and screaming “[explicatives]”, Angelo may have smiled at the bruts.  Like Correlli, self-confidant and prideful of his nationality, he would feel no need to respond to people who did not know and understand the magnificence of Italian culture and the joy of being Italian.  Instead of fighting, Angelo would have turned to his Italian friends and calmly said: “Andiamo.”