Party leader and power broker Aldo Moro, holed up with his cronies and rivals at a monastic retreat where they plot their political fortunes while being led by a Jesuit cleric in spiritual cleansings.

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Cast

Cast overview, first billed only:
...
M.
...
Don Gaetano
...
Giacinta
Ciccio Ingrassia ...
Voltrano
...
Autista di M.
Cesare Gelli ...
Arras
Tino Scotti ...
Il cuoco
Adriano Amidei Migliano ...
Capra-Profiri
Giancarlo Badessi ...
Ventre
Mario Bartoli ...
Primogenito Lombo
Nino Costa ...
Prete giovane
Guerrino Crivello ...
Speaker TV
Marcello Di Falco ...
Saccà
Giulio Donnini ...
Bastante
Aldo Farina ...
Restrero
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Storyline

Party leader and power broker Aldo Moro, holed up with his cronies and rivals at a monastic retreat where they plot their political fortunes while being led by a Jesuit cleric in spiritual cleansings.

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Drama

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Release Date:

30 April 1976 (Italy)  »

Also Known As:

Juízo Final  »

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(Eastmancolor)
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Did You Know?

Trivia

This movie was intended to satirize Italy's ruling political party, the Democrazia Cristiana. Gian Maria Volontè's character was a caricature of one of DC leader's, statesman Aldo Moro. Two years later, Moro was kidnapped and murdered by communist terrorists. See more »

Quotes

Don Gaetano: Have you ever tried to dress as a priest? Try it, at least once. It's a bit like being a woman. In summer the breeze enters under the genitals. You can go without briefs. Priests are half men and half women.
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User Reviews

 
Political satire and parody of a high and creative order
18 March 2015 | by (United States) – See all my reviews

"Todo Modo" is unique. There is no other film like it. It's an original from director Elio Petri and a film that cannot be imitated.

The set and production design is excellent. Architecture permeates the very unusual story, that story serving more as a means of presenting the political criticism than anything else. The story takes place in an unusual underground set of quarters and halls, run by a Jesuit order. The cavernous meeting rooms and corridors are sprinkled with white sculptured figures depicting religious figures and the stations of the cross. Below that level is a crypt, like the catacombs. The quarters are sparse.

Two world class actors share the acting honors: Marcello Mastroianni and Gian-Maria Volonte. But several others shine in their roles too: Ciccio Ingrassia and Mariangela Melato. Mastroianni plays a fervent Jesuit priest who is leading a spiritual retreat for a large number of top establishment types, political, business and finance mainly. His eyes show an actor totally into the part. Volonte gives an unforgettable portrayal of the "President", a man with a quest for power who acts out all sorts of roles to get his way, often simulating weakness, humility and honesty. He has managed to smuggle in his wife who supports him all the way in his ambition for more power and a 7-year mandate. Ingrassia portrays a guilt-ridden "pansy" who flagellates himself.

The party of men who figure in the retreat, about 50 of them, are shown as grasping and squabbling hypocrites who use the occasion cynically. Spirituality is the last thing on their minds.

As the story proceeds, they are being murdered. This mystery pulls us along but it's not the central concern of the story. Their murders are really a bold and subversive message of the movie itself; or reflective of the turbulent Italian society of that time. I cannot imagine a movie like this being made anywhere but in Italy, and that's partly because the Italian film makers of the time were so creative and willing to make films that spoke on many levels, avoiding clichés and tired conventions. This film has loose ends. It has exchanges that are not transparent. It is not always clear what the point is, at least on first viewing. But one still feels the messages strongly. The surviving members are not terribly affected emotionally when some of them are being killed, not until they realize that they too may be targets. They are so into the accumulation of money and power that they are thinking along other lines. Volonte is anxious to recover material confided in past years to Mastroianni, files on his associates. Some of them are interested in the value of the art works surrounding them. Their squabbles dominate them. Volonte and Mastroianni have had an unholy alliance, and Mastroianni is now calling him to account. Volonte is the movie's central figure and he dominates the film.


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