Salvatore Giuliano (1962)
Salvatore Giuliano (1962)
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Critic Reviews for Salvatore Giuliano
This is arguably as good as or better than anything Rosi has done since.
An outstanding film has been fashioned by Francesco Rosi using the story of Sicilian bandit Giuliano as a pretext for a historical, political, and social document of its times.
Audience Reviews for Salvatore Giuliano
A casual glance at "Salvatore Giuliano"'s particulars suggests an organized-crime saga, but instead it's an extremely convoluted tale (based on fact) of an assassinated Sicilian revolutionary. The political situation -- government vs. Sicilian separatists vs. Mafia -- is quite specific and doesn't have much appeal to people without a pre-existing interest in the situation, and the film is constructed such that almost none of the actors are featured enough to create a lasting impression. The title character himself doesn't even appear onscreen, except as a corpse (the action cuts between the present day and flashbacks). Sure, portraying the protagonist as an unseen cypher is a daring move, but it robs the viewer of making any emotional connection with him. With raw, documentary-like direction and a minimal score that goes no further than occasional growling drones, the film fails to have any sensuous appeal either. This is a sophisticated, admirable piece of work, but it's a tough one to even finish.
"Salvatore Giuliano" starts on July 5, 1950, just after Salvatore Giuliano(Pietro Cammarata) has been murdered. There is differing testimony from the eyewitnesses that not only contradicts the police account but each other. Five years previously, in the wake of the end of World War II, Sicily is on the verge of proclaiming its independence.(I had never heard of this before but it makes sense considering the cultural differences between Sicily and the mainland.) The leaders of the indpendence movement enlist bandits to the cause, giving Giuliano a field commission of colonel and a provisional amnesty.
"Salvatore Giuliano" is for the most part a riveting docudrama about the legendary independence fighter and bandit, the movie spending a good deal of thought wondering about the difference between the two. Throughout, Giuliano is protrayed as a shadowy figure, mostly known by his distinctive white duster as the police and army try more restrictive methods with each successful strike in order to try and stop him and his bandits which in turn just alienates the native populace. And director Francesco Rosi shows a fine touch with the natural locations and crowd scenes. However, the movie almost falls apart at the end due to a marathon court session that instead of resolving the central mystery, just manages to confuse things even further.
Francesco Rosi's riveting masterpiece is part war film, part crime drama and the basis for Puzo's The Sicilian.
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