A city-flavored lead Original title: size 9
Milano Director: Fernando di Leo
Milano Director: Fernando di Leo
Year: 1972
Production: Italy
Screenplay: Fernando di Leo, Augusto Finocchi, Ingo Hermess
Length: 97 min. (Color)
Genre: noir thriller
Screenplay: Fernando di Leo, Augusto Finocchi, Ingo Hermess
Length: 97 min. (Color)
Genre: noir thriller
Rating: 8.5
Piazza del Duomo, the ships, Sempione Park, the central station. In the collective, the capital of Lombardy is not necessarily a place bucolic and reassuring, indeed, is often synonymous with frenzy, chaos, traffic and air fine gray of the plain. But who, thinking of Milan, and the stereotype (mostly legacy of the eighties) the "town to drink," the image will not let go of long drinks, large shops of fashion, animated social life and, why not, Sundays (when the games are fair game on Sunday) barricaded inside the "temple" San Siro?
few years ago, especially in the dark seventies, but there was a very different Milan. A Milan could better represent the vast majority of major Italian cities (in fact shares with Torino, Genova, Rome and Naples, those films that served as the backdrop) that in those years were the victim of a generalized state of terror and that is reflected in the sad, but it fits perfectly the definition of "lead".
Paranoia, claustrophobia and fear were the daily bread of the state, police, media, decent people (and not so decent) and it was natural that film and literature he cibassero.
After the economic boom in Italy was going through a phase of modernization which has brought a series of friction and trauma that have been immortalized and especially well represented by a literary author who has had the merit to clear a genre, noir, which until then had been a prerogative of the English-speaking writers. The author responds to the name of George Scerbanenco and style raw and direct, so far from our local literary tradition, coupled with the fact that it exceeded the formality of the classic yellow (which requires a mystery to be revealed) lead to more concrete , morbid and perhaps that is scary, because of size of crime, is the basis of an entire film movement that rules in those years and which today is called (somewhat 'simplistic and, in some cases wrongly) poliziottesco.
is where directors like Fernando di Leo fished with both hands to create a more intense and prolific seasons of our cinema, which included, in addition to the aforementioned crime and noir, even a large film production of "gender "(from science fiction to westerns, horror, eroticism) that are now almost completely disappeared from our rooms.
Milan Caliber 9, probably the best film by Puglia, even if they are Scerbanenco title of the book, is actually a mixture of different elements in stories published by the writer of Ukrainian origin.
is universally regarded as the pinnacle of Italian cinema noir thriller genre and and boasts a large number of fans abroad (including the director Quentin Tarantino's Pulp par excellence). It differs a lot from detective films of the period because more than deal with the dichotomy guard-thief, taking care of the State response all'imperversare the underworld, is an internal world of the underworld itself, how it can be designed in ways totally different and of how not to exist difficult to lay roles.
Milan has a key role because it's based on is also a sociological analysis of the period determined by the increasing participation of workers (and sometimes criminals) who came from southern Italy, guilty in some way to export the "product" mafia beyond regional borders. The struggles of the working class, the internal contradictions of the police reform in 1970, officials entr'actes between pro-communist and pro-fascists among those, according to a story and terribly real - the director's own words - morality. Morale in the sense that in a context such as that narrated by the film, there are no certainties for the viewer: the values \u200b\u200bmay change at any moment, the good are not exactly what they seem, nor are the bad guys. This is because, fundamentally, there is neither one nor the other. There are only men with their weaknesses and their genetic defects.
A formidable cast of actors (all Gaston Moschin and Mario Adorf), a dark lady (Barbara Bouchet) beautiful and deadly as the genre requires a history of tense and fast-paced, a city that we are saved from mere role background becoming real hero, a wonderful soundtrack (produced by Hosanna directed by Luis Bacalov) midway between the progressive-rock and Luongo and, of course, the touch of a skilled director like the late Leo, make this an indispensable treasure for any lover of cinema.
few years ago, especially in the dark seventies, but there was a very different Milan. A Milan could better represent the vast majority of major Italian cities (in fact shares with Torino, Genova, Rome and Naples, those films that served as the backdrop) that in those years were the victim of a generalized state of terror and that is reflected in the sad, but it fits perfectly the definition of "lead".
Paranoia, claustrophobia and fear were the daily bread of the state, police, media, decent people (and not so decent) and it was natural that film and literature he cibassero.
After the economic boom in Italy was going through a phase of modernization which has brought a series of friction and trauma that have been immortalized and especially well represented by a literary author who has had the merit to clear a genre, noir, which until then had been a prerogative of the English-speaking writers. The author responds to the name of George Scerbanenco and style raw and direct, so far from our local literary tradition, coupled with the fact that it exceeded the formality of the classic yellow (which requires a mystery to be revealed) lead to more concrete , morbid and perhaps that is scary, because of size of crime, is the basis of an entire film movement that rules in those years and which today is called (somewhat 'simplistic and, in some cases wrongly) poliziottesco.
is where directors like Fernando di Leo fished with both hands to create a more intense and prolific seasons of our cinema, which included, in addition to the aforementioned crime and noir, even a large film production of "gender "(from science fiction to westerns, horror, eroticism) that are now almost completely disappeared from our rooms.
Milan Caliber 9, probably the best film by Puglia, even if they are Scerbanenco title of the book, is actually a mixture of different elements in stories published by the writer of Ukrainian origin.
is universally regarded as the pinnacle of Italian cinema noir thriller genre and and boasts a large number of fans abroad (including the director Quentin Tarantino's Pulp par excellence). It differs a lot from detective films of the period because more than deal with the dichotomy guard-thief, taking care of the State response all'imperversare the underworld, is an internal world of the underworld itself, how it can be designed in ways totally different and of how not to exist difficult to lay roles.
Milan has a key role because it's based on is also a sociological analysis of the period determined by the increasing participation of workers (and sometimes criminals) who came from southern Italy, guilty in some way to export the "product" mafia beyond regional borders. The struggles of the working class, the internal contradictions of the police reform in 1970, officials entr'actes between pro-communist and pro-fascists among those, according to a story and terribly real - the director's own words - morality. Morale in the sense that in a context such as that narrated by the film, there are no certainties for the viewer: the values \u200b\u200bmay change at any moment, the good are not exactly what they seem, nor are the bad guys. This is because, fundamentally, there is neither one nor the other. There are only men with their weaknesses and their genetic defects.
A formidable cast of actors (all Gaston Moschin and Mario Adorf), a dark lady (Barbara Bouchet) beautiful and deadly as the genre requires a history of tense and fast-paced, a city that we are saved from mere role background becoming real hero, a wonderful soundtrack (produced by Hosanna directed by Luis Bacalov) midway between the progressive-rock and Luongo and, of course, the touch of a skilled director like the late Leo, make this an indispensable treasure for any lover of cinema.
