A triumph of anti-fascist filmmaking that never allows itself to become complacent or moralistic. Although the film is structured around the personal failings of Clerici, it's not a pillory. It's deeply interested in his own battle with himself, between the part of him that longs to be normal and the part which the Quadris catch glimpses of that aspires to be a whole person. It is the tragedy of a man who has choices and chooses wrong again and again.
Despite this tragic bent, it's also dryly humorous. The set design, particularly in the scenes set in fascist Italy, is quietly but deeply satirical: huge useless empty spaces, people shuffling around lugging gargantuan fascist statues, marble so pervasive it becomes a parody of elegance. Tacky prints mounted like fine art. A room drenched in walnuts. The film is clear: fascism is deadly but it's also ridiculous. For all its supposed grandeur, it was only ever a bully dressing like a Roman to make himself feel big.