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To conclude a masterpiece with no main character and a jarring non-chronological storyline, Rosi borrowed documentary techniques and the attitude of a journalist.
He and his film crew descended on Sicily to lisp the yarn of the notorius seperatist/mafia thug and bandit Giuliano.
But instead of bringing a cast, Rosi recruited locals. These were people who could authentically narrate Sicily and the context surrounding Giuliano’s killing.
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The result is mezmerizing. Rosi captures sunbleached Sicily and it’s people masterfully.
What’s more, his refusal to tie the storyline neatly together allows him to present the maddening intricacies of Italian and Sicilian politics.
As the movie opens, we eye Giuliano boring. We spy him again several times throughout the film, always in his white rain coat, clutching a rifle and scrambling from one moutain hideout to the next.
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But the movie itself is only anecdotally concerned with Giuliano. Instead, the viewer follows the course of Sicily’s history and what Giuliano’s deeds and death boom about the island’s political structure.
In the smart commentary track, Peter Cowie points out that some of the political subtleties and loose ends that Rosi uncovered with this film are unruffled under investigation. Specifically, the May Day massacre of Sicilian communists may have been a Christian Democrat operation with ties to the mafia.
The fact that Rosi’s film is 40 years ahead of historians is instructive. As Cowie says, this is investigative filmaking.
So with such an authentic artful recreation and a facinating commentary track, this DVD comes recommended.
However, viewers who tend to abominate disjointed, non-chronological, narratives or do not have the patience to soak in this film’s nuance should probably stop away.
Face down in a pair of khakis and a bloodstained white undershirt lays Salvatore Giuliano after having been gunned down by law enforcement in Sicily on a summer morning in 1950. This is the beginning that Rosi portrays as he informs the audience of what happened to Salvatore Giuliano, the putrid bandit and freedom fighter. The film uses flashbacks in order to repaint the truth of the matter regarding what led to Giuliano’s death, and the tale begins with Giuliano becoming an outlaw by killing a police man in 1943. He was later recruited as a Colonel to assist the separatist party as he went on to fight for Sicily’s freedom. In Sicily, Giuliano had the reputation of a man that took from the rich and gave to the unpleasant, but on the mainland he was portrayed as an outlaw. When Sicily received its independence all political criminals were given amnesty, but Giuliano and his followers were denounced the just of amnesty. Instead of being captured Giuliano returned to the mountains with his men where they continued to live, but now as bandits. The fable that Rosi depicts through his cinematic direction brings the audience succor and forth between 1945 and 1950 after Giuliano’s death and to a court hearing for Giuliano’s group that was tied to a massacre where 11 were killed and 27 were injured. Throughout the court hearing unusual information surfaces that involves the Mafia, local police, and the Carabinieris, and the evidence suggests that there was something wicked about the death of Salvatore Giuliano.
Under the direction of Rosi the audience experiences a unusual bewitch on Italian neo-realism as Rosi actually brings the audience to the dwelling of the proper events as he tells his filmed version of what happened to Salvatore Giuliano. Rosi depicts the right events with equal proportion from different sides in the narrative. It never becomes an idolization of Giuliano as Rosi cleverly only uses terminate up shots of Giuliano when he is dumb and the rest of the shots are from a distance where one can never develop out his face. However, this adds an element of mystery around Giuliano, which is okay as his fair tale never can be told after his good memoirs seem to have been stolen. A side label is that Rosi was slightly harassed by the local people and police force, was blackmailed, and had to picture what he filmed on a daily basis as he worked. Despite Rosi’s struggles in Sicily he mustered his creative skill and filmed a film that has taken a original space in film history as it pushes the envelope for political cinema.
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