Actor: Gian Maria VOLONTE'

First leading role for G.M. Volonté, whose character was loosely inspired to the real life of Salvatore Carnevale, a Sicilian trade unionist who sacrificed his life to fight against Mafia and defend peasant rights in the 50's Sicily. Not Taviani brothers' best effort, but still a brave, passionate, committed work.

One of the first Italian detective movies ever made. Political thriller but also psychological and surreal drama, it's probably the best in its genre. In a grotesque way, director and writer Elio Petri perfectly portrays the political and social contest in 70's Italy, period of violent civil demonstrations and heavy repression by authorities.
At the centre of the movie is a gorgeous Gian Maria Volonté, who plays the f*ckest fascistoid and schizoid policeman ever seen on a screen. His omnipotence delirium is such that, after having committed a crime, intentionally leaves clues everywhere just to prove he's an untouchable citizen above suspicion. Volonté in his most intense and charismatic role!
The film is also remarkable for the original screenplay by Petri with Ugo Pirro and the amazing score by Ennio Morricone.

A provocative and controversial 1971 movie written and directed by Elio Petri, better known for 'Investigation of a Citizen Above Suspicion', who distinguished himself by his socially and politically engaging cinema. This film is a bitter and satirical portrait of the hard working-class life in 60's-70's Italy , among exploitation of factory workers, inhuman conditions, continual strikes, political clashes, general hysteria and alienation.
In comparison with 'Investigation', 'The Working Class goes to Heaven' is less technical and aesthetic, but more sincere and realistic; the ironic and grotesque tones are still present, though.
Once again in a Petri's work, the music is composed and directed by Ennio Morricone and the leading actor is Gian Maria Volonté, who superbly plays another extreme character. In this case, a neurotic, passionate and logorrheic worker, on the border of madness, who is first a real stakhanovite, and then a rabid activist.

"Todo modo para buscar la voluntad divina..."

Beyond the surface of a claustrophobic and dystopian political thriller, in 'Todo modo' (1976) we can find the harsh accusation that director Elio Petri made against the most important political party ever founded in Italy: the Democrazia Cristiana (DC). He put in evidence its ambiguous relationship with the Catholic Church and denounced the corruption and thirst for power of a party that had been ruling for over 30 years - from the 40's to the 70's.
Despite the dream-like narration, this visionary work offers an effective and substantially realistic vision of the dark side of my country. Maybe less solid than other masterpieces by the same director such as 'Indagine su un cittadino al di sopra di ogni sospetto' and 'La classe operaia va in paradiso', 'Todo modo' may be hard to follow because of the puzzling plot and the many metaphors. However, there's no doubt this is a great piece of art, a funny satire and one of the more illuminating political movies coming from Italy.
Unforgettable are the characters played by Volonté, Mastroianni and Ingrassia, as well as the solemn score by Morricone and the odd scenery by Dante Ferretti. Petri was a genius and a true classy filmmaker!

Freely adapted from Leonardo Sciascia's homonymous novel, the film was easily the main inspiration for Sorrentino's 'Il divo'.

Palermo, 1937. A Fascist bureaucrat kills within a few hours the superior who sacked him, the colleague who replaced him and his own wife. Despite the capital punishment is almost certain, a liberal judge tries to save the accused (who's ironically in favour of the death penalty) and get a sentence of life imprisonment.
Intelligent courtroom drama that, without rhetoric, deals with the political interests behind the capital penalty and the corporate corruption in Fascist Italy. An immense (as usual) Volonté stands out among an excellent cast .

The movie was adapted from a Leonardo Sciascia's novel, based on an actual criminal trial.

Brilliant and faithful reconstruction of the last heist committed by the 'Banda Cavallero' and their infamous getaway through Milan's streets in Fall 1967. Shot in an experimental and semi-documentary style by Carlo Lizzani (here at his best), the film is an unconventional, very intense and realistic crime drama filled with exciting action sequences, though not lacking in social commentary or psychological development of the characters.
I have no words to describe the greatness of Volonté playing the egomaniac lead bandit Pietro Cavallero, who used to rob banks as an act of rebellion. For this performance alone, he would deserve a monument!
'Banditi a Milano' is one of the many unfairly forgotten jewels from 60's Italian cinema.