(Francesco Rosi, 1963; Eureka!, PG)
In the 1960s, serious Italian cinema led by Fellini, Antonioni and Visconti moved decisively from neorealism into a new phase of more formal and personal movies with a wider social focus. Alongside them was Francesco Rosi, a former lawyer and one-time assistant to Visconti and Antonioni, who made an immediate impression with his film Salvatore Giuliano. A sort of Marxist Citizen Kane, it used the career of the eponymous bandit to anatomise Sicilian society and the role of the Mafia. It was the beginning of a series of political dramas about crime, corruption and exploitation in Italy that occupied Rosi for the next decade. The next one, Le mani sulla città (Hands over the City), took him back to his native Naples and a collaboration with an old friend, Raffaele La Capria.
Most films in this series (Salvatore Giuliano, The Mattei Affair, Lucky Luciano, Christ Stopped...
In the 1960s, serious Italian cinema led by Fellini, Antonioni and Visconti moved decisively from neorealism into a new phase of more formal and personal movies with a wider social focus. Alongside them was Francesco Rosi, a former lawyer and one-time assistant to Visconti and Antonioni, who made an immediate impression with his film Salvatore Giuliano. A sort of Marxist Citizen Kane, it used the career of the eponymous bandit to anatomise Sicilian society and the role of the Mafia. It was the beginning of a series of political dramas about crime, corruption and exploitation in Italy that occupied Rosi for the next decade. The next one, Le mani sulla città (Hands over the City), took him back to his native Naples and a collaboration with an old friend, Raffaele La Capria.
Most films in this series (Salvatore Giuliano, The Mattei Affair, Lucky Luciano, Christ Stopped...
- 4/12/2014
- by Philip French
- The Guardian - Film News
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