Deconstructing the Myth: A Critical Examination of Fiume o Morte and the Performance of Nationalism
Fiume o Morte (rijeka or Death), a compelling and innovative film by Goran Bezinović, doesn’t simply recount the history of Gabriele D’Annunzio’s occupation of Fiume (Rijeka) in 1919-1920. Instead, it meticulously deconstructs the nationalist myth-making surrounding this pivotal event, offering a nuanced and often humorous critique of political charisma, collective memory, and the enduring power of spectacle. This analysis will demonstrate how Bezinović’s film achieves its impact through a complex blend of historical re-enactment, archival material, and a keen awareness of the performative nature of power.
The film’s strength lies in its refusal too adopt a straightforwardly condemnatory stance. Rather than moralizing about D’Annunzio, Bezinović employs irony and juxtaposition to expose the constructed nature of his heroic persona. A notably striking exmaple is the film’s opening sequence: a recreation of a classic photograph depicting soldiers lounging on the docks is immediately followed by a contemporary parallel, where individuals are absorbed in their smartphones.This isn’t merely a comedic device; it’s a powerful commentary on the banality that underpins even the most celebrated historical narratives, subtly questioning the reverence frequently enough afforded to figures like D’Annunzio. It highlights the enduring human tendency towards distraction and self-absorption, even amidst moments of supposed historical meaning.
This interrogation of political charisma extends to a re-enactment of D’annunzio’s famous balcony speech – a performance later consciously emulated by Mussolini. The film cleverly reveals the mechanics of spectacle by initially showing the reenactment with a small, politely clapping audience, then dramatically pulling back to reveal an empty street. This is immediately contrasted with archival footage of the original speech delivered to a massive, eager crowd. This visual contrast isn’t accidental; it exposes how authority is constructed through visual framing and the amplification of performance. Bezinović’s approach aligns with Simon Critchley‘s (2002) understanding of humour as a vital ethical tool – a means of challenging unearned reverence and disrupting the performance of power without descending into cynicism. The film doesn’t dismiss the power of spectacle, but rather reveals its inherent artifice.
Beyond its focus on D’Annunzio, Fiume o Morte subtly addresses the social dynamics of occupation, particularly the frequently enough-overlooked role of women. While women are largely relegated to supporting or fleeting roles – a narrator, a hotel worker attending to D’Annunzio – their presence is deliberate. Bezinović avoids artificially revising history to elevate these characters, instead drawing attention to the systemic “gendered silences” within nationalist narratives, as identified by Yuval-Davis (1997). These brief appearances serve as a poignant reminder of the everyday realities – the labor, care, and survival – that underpin the grand narratives of military spectacle and political ambition.
The film’s most incisive achievement is its understanding that nationalist myths are not simply ideological constructs, but aesthetic ones (Falasca-Zamponi, 1997).Bezinović meticulously exposes the staged nature of D’Annunzio’s politics - the carefully crafted speeches, the grandiose declarations, the theatricalized public rituals. Crucially, the film anchors its critique in the local context, paying particular attention to the Fiuman-speaking community and their unique understanding of the occupation. Filmed on location in Rijeka, at the very sites of the historical events, Fiume o Morte fosters a dynamic dialog between past and present, resisting any singular, authoritative historical interpretation. The use of local actors and dialects further emphasizes the plurality of memory, demonstrating that history is a continuously negotiated process, not a settled fact. This approach directly challenges nationalist nostalgia, not through abstract condemnation, but by revealing the multiple, often conflicting meanings that Fiume continues to hold for its inhabitants.
Fiume o Morte is a remarkably prosperous film as of its delicate balance. it seamlessly integrates humour with historical insight, participation with critical analysis, and spectacle with thoughtful reflection. Its hybrid format – blending re-enactments, archival footage, interviews, and oral narration – illuminates the complex interplay between nationalism, collective memory, and myth, while concurrently demonstrating how ordinary individuals become participants in historical events that often appear distant and abstract. The film also doesn’t shy away from the unresolved legacies of Fiume and D’Annunzio, acknowledging that he was even posthumously rewarded by the Italian state and that monuments to him still stand, reflecting a deeply contested memory.
Ultimately, Fiume o Morte invites audiences to engage critically with the politics of memory, prompting reflection on how history is constructed, remembered, and utilized in the present.