D’Annunzio’s heroic exploits as a pilot during the war (Hughes-Hallett’s excellent account of this phase of the poet’s life underlines his genuine bravery) and his occupation of the city of Fiume in 1919–20 in defiance of the government in Rome and the international community cemented his position as prophet-bard and champion of national regeneration. The Fiume episode, whose aesthetic, moral and political perverseness is vividly captured by Hughes-Hallett, provided the nascent Fascist movement with further material on which Mussolini later drew: choreographed parades and ceremonies, ritualized chants, exotic uniforms, the celebration of youth, the cult of the heroic (and shaven-headed) leader, inflammatory speeches from balconies designed to generate a collective euphoria akin to religious enthusiasm.
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