Salvatore Giuliano (1962)

Sadly Over-hyped

not as good as all the hype

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Interesting neo-realistic, quasi-documentary film with notable editing. But did the film deserve the Best Director award at Berlin over Bergman's "Through a glass darkly"? The Swedish film was superior. Martin Scorsese likes it because he can identify with the Italian politics and sociology of that time. The Rosi film is good but overrated.

Through the first hour of this film there are no focused characters, at most a character is seen in two or three short scenes. It's basically just following history and showing examples of it. Luckily it's not rushed, it's decently paced and it is realistic.The best way to describe this is to call it a docu-drama. A narrator tells you something and then some people either do what's described or continues where the narrator leaves off. Though this approach can work, I did find it distancing in this film and it did make me less interested. The above competent direction and photography did elevate it however and for a long time I felt that it was great.The films main problem is that we never really get to know anything, least of all about the title character who is despite the entire film being about his history only seen dead, or walking/running around. He only has a few lines.Then towards the middle we experience two horrendous acts of overacting which damages the film severely. Both involving screaming/crying, the worst offender was the woman playing Giulianos mother. She screams and cries so awfully and in such a high tone that you wonder if you are watching a cheap parody. This scene is agonizingly long.We do however learn a lot about the conflict going on and after a bit more than an hour, perhaps closer to 90 mins we get one character to follow. Overall I just don't think the film put us inside the conflict and despite giving us historical facts and let us understand the events we never got to the core. This made it cold and somewhat uninteresting for time to time. Not a film I would recommend but definitely a more or less good film.6.5/10

Filmed in the actual Siciilian locations, this film is a fair attempt to strip away the myth surrounding bandit-cum-revolutionary Giuliano. In fact, he doesn't appear except as a gunned-down corpse at the beginning. The film winds back to unravel the events leading to his death, and forwards to its consequence. This is a clever method of achieving objectivity while at the same time subtly emphasising the man's elusive and mysterious qualities. To show Giuliano would have either been either hagiography or iconoclasm. The film rose above that and broadened its inquiry into the wider social and political context, effectively belittling him as the puppet of various forces jostling for position in Sicily after the war: bandits, police, local aristocracy, the Italian government, communists, and the Mafia.This sets quite a challenge for itself, partly because of the vacuum at its centre, partly because of the obscurity and complexity of the real events. We are delivered to a chaotic courtroom to try to piece it together. The film finally latches onto Giuliano's lieutenant –the only one who seems to know something of what is going on - but even he is silenced. It's all the more disturbing for the confusion. Rosi is one of the best directors of crowds scenes and he gives raucous energy to any gathering of men, especially in the courtroom. He induces a kind of group hysteria in his actors; they are totally unaware of the camera and the result is an almost disturbing hyper-real feel (real crowds are dull in comparison) – it's really something to appreciate. To get into this film, you need to invest something in the passions of the various parties involved - if not sympathise with them, then at least understand them. Without this, the danger is that it all boils down to so much petty bickering. The same might be said of the Godfather, which clearly owes a huge debt to Rosi's style.Influential then, somewhat brave, with some fine directorial moments, and an interesting history lesson. Hard to actually like, but hard not to admire.

This remarkable movie reminded me of early Eisenstein for the fluid, dynamicmovement of crowds--in the streets, in the movement of soldiers and bandits across the hilly terrain, and in the scene of the Portella della Ginestre massacre. The back-and-forth narrative structure must have influenced Costa-Gavras in the making of "Z." And Rosi's ability to get riveting performances from non-professionals (some of whom could not read scripts) is astonishing. The story line gets confusing, but I think that's because the situation was confusing--multiple betrayals and layers ofcorruption and complicity--rather than a flaw in the script or editing. Visually exciting, too--the use of distancing overhead shots, the quiet menace of gunmen walking up a deserted, sun-baked street... memorable stuff.