This film is for audiences with some awareness of renaissance military and art history, being a cross between a documentary (the words, armoury and events are rigorously based on documented history) and a series of achingly beautiful, live renaissance frescoes (photography: Fabio Olmi).

It also hazards that that were it not for the betrayal of the Duke of Ferrara and his giving of four small cannon to the invading German forces of Emperor Charles V, not only might the young Joanni not have died as he did but the successful invasion and the sacking of the Papal state might not have occurred.

Jivkov as Joanni De Medici and the whole cast are excellent. In short, an uncompromising film from an uncompromising director.

This is an absolute must for anybody interested in Olmi's work or in the Italian Renaissance. One of the best Italian productions in years.

As usual, Olmi concentrates on the grey landscapes of his native Padana plains, engulfed in a swirling fog dominating the human figures which move through it, in an atmosphere of timeless melancholiness. As in its masterpiece, "L'albero degli zoccoli", Olmi successfully tries to paint a picture of the characters' feelings and strivings through the pitfalls of a difficult existence, devoid of any intrinsec meaning.

Do not misunderstand me - this is none of the pacifist crap fashionable amongst trendy critics and intellectuals. Neither it is a convoluted attempt to convey "profound" sociological or psychoanalytical concepts. That's why it didn't win the prize it deserved at Cannes. The film is rather an attempt to represent the reality of human loneliness and meaninglessness within a particular historical setting: that of a time when soldiery was still a "mestiere", a job, a professional choice devoid of the religious overtones which national myths have impressed on it in later times.

The Generals of both armies are no heroes, but rather human beings endowed with very human needs - Giovanni writes his loving wife to send him underpants, and his far less loving uncle, the Pope, to send him some money to pay his men. These are poor and humiliated men, fighting in the pope's behalf, and receiving blessings (instead of money) in exchange. Their one solace through religion consists in the act of burning churches and crosses to warm themselves a little - "That's the Christ of us poor people, he will help us", they say finding a huge wooden crucifix, and the face of the Christ being burnt is a testimony to their grieves. But the leader of the German Landsknechten, famous von Freundsberg, is also an old man who, for all his vain ferocity, is forced to go back to Germany after his victory because of his old age and illnesses.

The peasants fleeing through the fog, or hung by the German troopers, are wistful - more than tragic - elements of an unmoving landscape, mute testimony to the eternal cycles of war, of suffering, of pathetic strives to win victories that will be forgotten one day or week or month later, as new puppets will "strut and fret their hours upon the stage, and then will be heard no more" (from the famous monologue of Macbeth).

A masterpiece from Ermanno Olmi. A film worth seeing wherever you live.

If you are looking for a relaxing and commercial film don't see this one. In my case it took me 20 minutes to get deeply involved in the plot and the film atmosphere. Is a nice biographic story of an arm maker in the Italian middle age. The countryside (shot in Romania and Bulgaria) is giantly underlined by Ermanno Olmi's hand and all the characters were completely well represented by the actors.

Either you like the plot or not but certainly you will notice the direction of still one of the MOST important Italian directors nowadays.

Rating: 7/10