Before the Revolution 1964

In the city of Parma during the year 1962, the story revolves around Fabrizio, a young university student portrayed by Francesco Barilli, who becomes increasingly drawn into political and philosophical debates as he questions his own identity and beliefs. Fabrizio is deeply interested in the principles of the Italian Communist Party, a cause that conflicts with his middle-class upbringing. This internal struggle is illustrated through his complex relationship with Clelia, his fiancée, who shares his social background but shows little interest in political ideologies, focusing instead on personal matters.

Fabrizio’s close friendship with Agostino, played by Allen Midgette, adds further depth to his existential journey. Agostino is haunted by his disdain for his parents’ conservative lifestyle and finds himself torn between the religious values instilled by his Catholic family and the Marxist ideals that Fabrizio advocates. During a heartfelt conversation with Fabrizio, Agostino expresses his deep-seated hatred for his parents’ way of life, revealing the emotional turmoil that underpins their relationship. Fabrizio, feeling concerned about his friend’s mental state, encourages Agostino to meet Cesare, an insightful schoolteacher played by Morando Morandini, who had previously helped Fabrizio solidify his own grasp on political philosophy.

Adding to the emotional intricacies of Fabrizio’s life is the arrival of Gina, Fabrizio’s aunt, portrayed by Adriana Asti. She is the younger sister of his mother from Milan and enters the household, bringing with her a mixture of charm and unresolved tension. Soon after her arrival, Fabrizio is devastated to learn about Agostino’s tragic death, which appears to have been a suicide by drowning in the Po River. The young man interviews local youths present during the incident and becomes convinced of the seriousness of his friend’s despair, interpreting Agostino’s feelings as a metaphorical hatred toward himself—a mirror of his internal conflict.

Fabrizio’s relationship with Gina grows more complicated as they begin an affair. Despite her feelings for Fabrizio and her intellectual connection to Cesare, Gina keeps her true emotions hidden, convinced that their relationship will not endure. She confides in Fabrizio during late-night phone calls with an unseen confidant she refers to as “doctor,” revealing her rising hysteria and anxiety. She feels increasingly disturbed and blames her mysterious caller for her insomnia and emotional distress, suspecting that her move to Parma is part of a larger scheme to send her away from Milan.

A pivotal moment unfolds when Fabrizio encounters Gina leaving a hotel with a man after a brief sexual encounter, which fills him with anger and disappointment. Nonetheless, Gina later consoles Fabrizio, expressing her relief that he remains unmarried and free of familial responsibilities. Their relationship faces further tension when they meet with Puck, an old lover of Gina’s portrayed by Cecrope Barilli, who epitomizes the struggles of the generation set to face an uncertain future. Puck, living a life of stagnation on land inherited from his father, laments the rapid changes of the times, which threaten his way of life. Fabrizio confronts Puck about his complacency, and Gina, upset by Fabrizio’s criticism, reacts by slapping him, emphasizing the emotional volatility among the characters.

Soon after, Gina departs back to Milan, leaving Fabrizio immersed in his world of philosophical questions and political disillusionment. The narrative then shifts to a communist rally held in Parma’s Parco Ducale, where Fabrizio begins to voice his doubts about the ideological purity of the party, hinting at his growing disillusionment despite his outward adherence. Amidst this turmoil, Fabrizio marries Clelia, reinforcing his ties to his social class, but his internal struggles remain unresolved.

The story concludes with a poignant scene at Fabrizio’s wedding, where Gina is seen sharing a tender, almost rebellious moment by repeatedly kissing Antonio, Fabrizio’s younger brother. This act hints at lingering feelings and unresolved tensions among the characters, symbolizing the ongoing conflicts between personal desire, political beliefs, and familial bonds that define their lives.

Throughout this poignant tale, the film explores themes of ideological conflict, societal change, personal identity, and emotional resilience, painting a rich picture of Italy in a period of political and social upheaval. The characters’ intertwined journeys reflect the complexities of youthful idealism confronts the realities of a changing world.