The Five Days 1973

The film unfolds in Milan during the dramatic Five Days of Milan, the anti-Austrian uprising that rages from 18 to 22 March 1848, painting a city roiled by conflict and crowded with ordinary people trying to survive the chaos. A petty criminal, Meo Cainazzo, escapes from prison as artillery blasts shake the streets and propels him on a search for his gang leader, Zampino. Along the way he forms an unlikely alliance with a warm-hearted Roman baker, Romulus, who has come to Milan to help his uncle with work, and the two men quickly discover that humor and misfortune can mingle in the most unexpected moments.

Together they stumble into a string of tragicomic episodes that pull them deeper into the city’s upheaval. They lend a hand in erecting a barricade made from furniture belonging to a(n) nymphomaniac countess, a moment that blends farce with danger and exposes how ordinary objects become symbols of collective struggle. They also become involved in a human moment when they help a woman give birth, a scene that brings a rare warmth amid the surrounding turmoil. Their path then crosses with the ambitions of a formidable baron, Baron Tranzunto, who recruits them into his brigade even as street violence, patriot fervor, and Austrian reprisals rage around them.

As the city reels, the film shows the raw tension of loyalty and betrayal. A man denounces his girlfriend as a collaborator after she is discovered with a soldier, and the couple becomes a focal point of the night’s violence. Baron Tranzunto orders his men to seize the woman and the soldier, and the confrontation turns brutal: the soldier is killed and the baron moves to commit another grave act. The woman at the center of the confrontation is portrayed by Ivana Monti, and Romulus steps in during the conflict. In the ensuing struggle, the baron falters and falls down the stairs, dying, while Romulus is captured and shot, a stark moment that marks the cost of taking a stand in a city at war.

The drama intensifies as Cainazzo is briefly reunited with Zampino, only to confront a harsh truth: his ally had been secretly working with the Austrians, casting a shadow over the revolution and leaving Cainazzo to question whether the uprising he hoped for was truly genuine. The film closes on a note of disillusionment and resilience, inviting viewers to consider how individuals navigate loyalty, truth, and survival amid history’s upheavals.

The tension and tenderness captured in these encounters are balanced by stark, observational detail—the crowded streets, the sudden bursts of violence, the quiet moments of human connection that persist even in upheaval. The result is a portrait of Milan during a turning point in its history, where humor and tragedy intertwine and ordinary people are forced to choose where their loyalties lie.