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One surprise about the picture is that the co-director, along with Ellen Spiro, was Phil Donahue, who has smiled in many a television viewer's home. He and Spiro have put together a well-shot, adroitly edited work that will, as usual, have very little of the effect that the makers wanted it to have.
But it does summon a disturbing question. As with Vietnam, objection to Iraq raises the matter of basic validity. An argument against Body of War might be that it attacks only what it considers to be an unjust war, not war itself. (During the Vietnam War, it was unpopular to say that young people were protesting the war--understandably enough--to save their own skins. When the risk to them diminished, so did the antiwar protests.) If Donahue and Spiro supported the Iraq war, would they have made a film about a wounded soldier?
My Brother Is an Only Child joins the growing list of inexplicable titles. This Italian film deals with the lives of two brothers in the 1960s and 1970s. Though they have sharp differences, and though the conclusion is violent, nothing justifies the alienation that the title suggests.
All through the picture, I kept being reminded of The Best of Youth (2003), a three-hour film that dealt with young Italians maturing and changing. The screenplay of that picture was not good enough for its cast and direction: the script wobbled, while everything else was steadfast. I felt the same about My Brother. When I looked at its credits, I saw that two of the screenplay's three authors were Sandro Petraglia and Stefano Rulli, who had written The Best of Youth.
