He is saved from his self-imposed decay by Edith, a sensual woman who attempts to introduce him to sexuality. However, her sudden death from a heart attack plunges Luca back into a state of severe illness and despair.
The French actress provides a grounding, maternal, yet deeply tender presence during the film’s critical third act.
The family governess who uses erotic games to pull Luca out of his suicidal lethargy.
Released in 1981, (translated as Disobedience ) is a provocative Italian-French drama that explores themes of wartime disillusionment and sexual awakening. Directed by Aldo Lado, the film is an adaptation of the novel by renowned author Alberto Moravia. Plot Summary
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A recurring complaint among reviewers concerns the quality of available prints, particularly those uploaded to YouTube. One IMDb user noted: "At least in the copy that YouTube provides, one can hardly see some images clearly; the soundtrack is awful, and at times the music prevents following the dialogue." The same user suggested that the film may have been "sabotaged".
Luca's "disobedience" is both political and personal. While he initially embraces the ideals of the partisan resistance, he becomes profoundly disillusioned by the aftermath of the war, finding that the structural decay and moral apathy of society remain unchanged.
The cinematography utilizes soft focus and warm, golden tones that contrast sharply with the ugly reality of the characters' relationships. This visual irony—beauty masking decay—is the film's strongest asset. The soundtrack, composed by the legendary Ennio Morricone, is minimal and haunting, utilizing melancholic piano motifs that underscore the tragedy of a childhood lost to corruption.
Moreover, La Disubbidienza explores the intricacies of human relationships, particularly within the family unit. The dynamics between Daniele, his father, and his sister reveal a deep-seated complexity of emotions, from love and loyalty to resentment and anger. He is saved from his self-imposed decay by
When the war ends, Luca anticipates a sweeping moral and political rebirth for Italy. Instead, he is met with deep disappointment. His parents smoothly transition from greeting Nazis to welcoming Americans, retaining their privilege and hypocritical lifestyle without consequence. Overwhelmed by existential dread and the realization that the ideals he fought for have been commodified, Luca suffers a psychosomatic illness and decides to let himself die.
(Teresa Ann Savoy): His family's young governess—and his father's secret mistress—uses erotic games to pull Luca out of his depression and introduce him to physical intimacy. When she unexpectedly dies of a heart attack, Luca suffers a relapse.
Set in 1944 Italy, the film takes a unique angle on the war genre. Instead of focusing on the front lines or high-stakes espionage, it focuses on a wealthy, bourgeois family in a villa who are utterly detached from the reality of the collapsing Fascist regime.
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The story is set in Rome during the height of Mussolini’s regime. It revolves around the life of a wealthy, upper-class family that seems to have insulated itself from the political turmoil of the time. The central character is Luca (played by Benjamin Levi), a young boy on the cusp of adolescence who is pampered, spoiled, and largely ignored by his parents in any meaningful emotional sense.
A journey from innocence into the chaos of adulthood.
Drama / Romance / Historical
The film's strongest assets include Ennio Morricone's evocative score, Dante Spinotti's cinematography, and strong performances from its talented cast, particularly Stefania Sandrelli and Teresa Ann Savoy. Its weaknesses include occasional narrative incoherence, uneven pacing, and the poor quality of widely available prints. The family governess who uses erotic games to
