Violent Life 1962

In the shadowed months at the end of World War II, a group of young adults moves through a Rome that is poor, rough, and unsteady. The film follows a neighborhood where makeshift shacks cling to the outskirts and the new postwar prosperity has not yet arrived. In this environment, a young man named Tommaso Franco Citti leads a small gang that makes a living by stealing whatever they can—cars, pieces of iron, flour, and other easily turned profits. They fritter away their earnings on cheap pleasures, from visits to prostitutes to late-night cinema, while their sense of duty to the country remains murky and contested. Amid the muck and roughness, some of the youths lean toward Mussolini, even as others hold the line for the Italian Communist Party. They still wander into the local communist party HQ where dances and gatherings for the town’s youth punctuate the week.

On a night of mingled bravado and longing, Tommaso’s life crosses with Irene Serena Vergano, a girl whose presence draws him in despite his restless ambitions. She agrees to a cinema date, but Tommaso’s grasp is awkward, and her discomfort in his hands reveals a tension between desire and respect. Yet something about him—an undeniable magnetism or perhaps the lure of a life bigger than the streets—pulls Irene close, and a fragile bond begins to form amid the clamor of the neighborhood, dances at the party hall, and the steady hum of a city trying to rebuild.

The violence in Tommaso’s orbit comes to a head when, after an attempt to reconcile with his estranged girlfriend, he kills a man. The act lands him in prison, where two years stretch long and hard, and the world outside seems to have altered in his absence. When he is released, the neighborhood has transformed: more apartments rise from the ground, and his mother has managed to obtain one, a small sign of the shifting times. Tommaso returns to a life that still teeters between danger and possibility, a smoker who cannot shake the habit and who is soon confronted by a new, gnawing health threat—tuberculosis—that sends him away to a sanitarium to recover.

While confined, he reflects on his past and begins to see a path beyond the cycle of theft and bravado. The time apart sharpens his sense of responsibility and his care for others, and when he comes home, he carries the conviction that his future might align with something larger than himself. He becomes engaged to Irene, and, to please her father, he also decides to join the Communist Party. Yet the old vices linger; he resumes smoking, and he keeps moving through rain-soaked nights doing a quiet, steadfast good for a stranger in need. It’s a fragile, evolving moral steadiness, one that promises a future he might truly inhabit.

In the end, the inner healing Tommaso feels remains incomplete in the body he inhabits. Although his spiritual health has brightened and his empathy has grown, his physical health deteriorates once more, and he meets his end before the life he dreamed of is fully realized. The film lingers on the tension between aspiration and the obstinacy of circumstance, presenting a portrait of a postwar Rome and its people who strive for dignity, connection, and hope even as the streets demand more than they can give. The story remains a quiet, unflinching look at a young man’s struggle to reform himself against the pull of a hard, unyielding world.