Vitaliano Brancati, born on July 24, 1907, in Pachino, a small town in the province of Syracuse, Sicily, is a name that resonates deeply in the annals of Italian literature. Brancati’s journey from the humble beginnings in Sicily to becoming one of the most influential literary figures in 20th-century Italy is a tale of resilience, intellectual evolution, and a deep-seated passion for writing. His life, marked by a series of personal and professional transformations, offers valuable insights into the interplay between literature, politics, and society during some of the most tumultuous periods in modern history.
Early Life and Education: The Foundations of a Literary Giant
Brancati was born into a family with a strong intellectual background. His father, Rosario Brancati, was a lawyer and a councilor of the prefecture with a profound interest in literature. This intellectual environment undoubtedly played a significant role in shaping Brancati’s early literary aspirations. The family moved frequently due to Rosario’s professional obligations, finally settling in Catania when Vitaliano was thirteen. It was in Catania that Brancati’s literary career began to take shape.
Catania, with its vibrant cultural and intellectual atmosphere, became the fertile ground where Brancati’s literary talents blossomed. He enrolled in the Faculty of Letters and began publishing his early poems in local newspapers, eventually becoming an editor for “Il giornale dell’Isola.” This period was crucial in honing his skills as a writer and thinker. In 1929, Brancati graduated with a thesis on Federico De Roberto, further solidifying his literary foundations.
Early Career and Fascist Involvement: A Complex Relationship
Brancati’s early career was marked by his initial alignment with the Fascist regime. After graduating, he moved to Rome, where he began working as a journalist for “Il Tevere” and later for the literary weekly “Quadrivio.” During this time, Brancati wrote several dramas inspired by Fascist ideology, including “Fedor” (1928), “Everest” (1931), and “Piave” (1932). These works, however, were later disavowed by Brancati as his views on Fascism evolved.
The turning point in Brancati’s relationship with Fascism came in 1934 when his novella “Singolare avventura di viaggio” was banned by the regime for its perceived immorality. This incident catalyzed a profound political and ideological crisis within Brancati, leading him to distance himself from Fascist ideology. His subsequent works increasingly reflected his disillusionment with the regime, and he became an outspoken critic of Mussolini’s dictatorship.
Literary Success and the “Gallismo” Concept
Returning to Sicily, Brancati won a competition for a teaching position in Italian at the Magistral Institutes, which marked the beginning of his career as an educator. He continued to oscillate between Sicily and Rome, where he formed close associations with prominent figures such as Leo Longanesi and contributed to the magazine “Omnibus.”
The period during World War II was particularly productive for Brancati. He wrote “Gli anni perduti” and “Don Giovanni in Sicilia” (1941), as well as the comedies “Le trombe di Eustachio” (1942) and “Le nozze difficili.” “Don Giovanni in Sicilia” was a landmark in Brancati’s literary career, marking the beginning of his rise to fame. The novel, set in Sicily, depicted young men obsessed with eroticism and women, engaging in fantastical adventures and imaginary journeys that they never actually embarked upon. In describing these characters, Brancati coined the term “gallismo” to capture the exaggerated machismo and sexual bravado prevalent in Italian society at the time.
The Fascist Threat and Return to Sicily
Brancati’s growing opposition to Fascism did not go unnoticed by the regime. In 1943, fearing for his safety due to threats from Fascists who intimidated him with the specter of forced labor in the Carbonia mines, Brancati returned to Sicily. There, he joined his family, who had been evacuated due to the ongoing bombings.
It was during the theatrical performance of “Le trombe di Eustachio” that Brancati met Anna Proclemer, an actress whom he married in 1946. This marriage, while eventually ending in separation, was a significant chapter in Brancati’s personal life and influenced much of his later work.
Post-War Years and the Pinnacle of Literary Fame
The post-war years saw Brancati reach the zenith of his literary career. In 1948, he published “Il bell’Antonio” in serialized form in the newspaper “Il mondo.” The novel, which was awarded the prestigious Premio Bagutta in 1950, was a scathing critique of the Fascist regime, symbolized through the impotence of the protagonist, Antonio. The novel’s success was further amplified by its 1960 film adaptation, directed by Mauro Bolognini and starring Marcello Mastroianni and Claudia Cardinale.
Brancati’s critical perspective on Fascism and his exploration of the intersection between Fascism and eroticism placed him at the forefront of Italian literature. His works were not just narratives but social commentaries that mirrored the complexities and contradictions of Italian society during the Fascist era.
Cinematic Contributions and Censorship Battles
In addition to his literary achievements, Brancati made significant contributions to Italian cinema as a screenwriter. His scripts were the basis for several films, including “La bella addormentata” (1943), “Silenzio si gira!” (1944), “Gli anni facili” (1953), “L’uomo la bestia e la virtù” (1954), and “Dov’è la libertà” and “Viaggio in Italia” by Roberto Rossellini.
However, Brancati’s boldness in addressing controversial topics often brought him into conflict with the authorities. Despite the end of the Fascist regime, his play “La governante,” which dealt with female homosexuality, was banned by censors, preventing its performance. This censorship prompted Brancati to pen the essay “Ritorno alla censura,” in which he passionately defended the right to free expression for writers and artists.
Final Years and Legacy: The Incomplete Masterpiece
The last years of Brancati’s life were marked by personal and professional challenges. In 1953, he separated from Anna Proclemer, and the letters he wrote to her were later published in a collection titled “Lettere da un matrimonio” in 1955. Brancati’s health also began to deteriorate, and on September 25, 1954, he passed away due to complications from thoracic surgery performed by the renowned surgeon Professor Dogliotti.
At the time of his death, Brancati was working on his final novel, “Paolo il caldo,” which remained incomplete. Despite this, the novel was published posthumously in 1955, with a preface by the celebrated writer Alberto Moravia. In 1973, the novel was adapted into a film directed by Marco Vicario, starring Giancarlo Giannini and Ornella Muti.
Brancati’s legacy endures not only through his literary works but also through the profound influence he had on Italian culture and society. His ability to intertwine humor with tragedy, to critique societal norms while engaging readers with compelling narratives, has cemented his place as one of Italy’s most important literary figures.
Conclusion: A Writer Ahead of His Time
Vitaliano Brancati’s life and work offer a fascinating glimpse into the complexities of Italian society during the early to mid-20th century. From his early association with Fascism to his eventual repudiation of the regime and his critical examination of Italian masculinity and eroticism, Brancati was a writer unafraid to confront the pressing issues of his time. His legacy, encapsulated in his novels, plays, and essays, continues to resonate, offering insights into the human condition and the societal forces that shape it.
Brancati’s ability to blend the personal with the political, the comedic with the tragic, makes his work not only a reflection of the Italy of his time but also a timeless commentary on the universal struggles of identity, power, and freedom. As we continue to explore his writings and their impact, it becomes clear that Vitaliano Brancati was a literary giant whose influence extends far beyond the pages of his books.
