Trauen Sie Alfredo einen Mord zu?

"L'Assassino" was Elio Petri's remarkably assured debut. It's a Kafkaesque story of a man, (Marcello Mastrioanni), under investigation for the murder of his former mistress, (Micheline Presle), The film flits back and forth between the investigation and events in Mastrioanni's past life. It's clear from the outset that what interests Petri isn't so much the prospect of making a thriller but dissecting the protagonist's way of life. This is the Italy of La Dolce Vita or at least the sweet life that was emerging for people like Mastrioanni if they could only keep themselves free of accusations of murder. This is one of his greatest performances but the film itself disappeared soon after its release and is now something of a cult film. Carlo Di Palma was responsible for the superb black and white cinematography.

The Assassin is an ironic tale upon the setbacks of an unscrupulous and arriviste antiquarian, Alfredo (Marcello Mastroianni, Giallo napoletano), whom ambitious projects are thwarted when he is accused of the murder of his former lover and partner Adalgisa (Micheline Presle, I Briganti italiani).

Arrested by the officer Margiotta (Marco Mariani, La Morte risale a ieri sera) and questioned by the commissioner Palumbo (Salvo Randone, Il Criminale), Alfredo is put in jail with two hoodlums (Toni Ucci, Cadavere per signora, and Paolo Panelli, Mia Nonna poliziotto). During the inquiry, he is confronted with the other relatives of the victim, her husband Morello (Andrea Checchi, Caccia all'Uomo), her associate in the construction of a new hostel (Francesco Grandjacquet, Roma citta aperta), her maid Rosa (Giovanna Gagliardo) and her new lover Bruno (Max Cartier, Rocco e i suoi fratelli).

While the police tries to make him confess, charging him notably to have had an anarchist and antifascist grandfather, will Alfredo manage to get out the trap of the circumstances? Will he still be able to marry his girlfriend Nicoletta (Cristina Gajoni, Un Maledetto Imbroglio), the daughter of a rich industrialist? As he is put in the newspapers as an ideal culprit, the film sketches the social satire of an Italy in quest of landmarks. (Viewed in Italian 1h37 version.)

A slow moving although artistic triumph in most aspects, the cinematography is excellent and the background music is not only appropriate but also essential in establishing the mood and atmosphere of the film. In terms of plot, it is rather interesting as a story of feelings of guilt and police interrogation, yet in seems a little short in plot substance, as at times the material really drags. The melding of flashbacks could also be improved on, as it is hard to distinguish between thoughts, memories and reality. However, the overall experience is excellent and the factors I've mention do not severely affect it, but it is not nearly perfect as a film.

Alfredo Martelli (Marcello Mastroianni) is picked up by the police in his apartment without justification. In the precinct, he slowly discovers what is the investigation about as we find out details about his life.

Director Elio Petri made a large handful of classic films. His best known, "Investigation of a Citizen Above Suspicion" (1970), was about the police force. "The Working Class Goes to Heaven" (1971) focused on the worker's condition. And "Property Is No Longer a Theft" (1973) emphasized the role of money in our society and how power destroys the individual. But "The Assassin" (1961) was his first feature film, and for that fact alone deserves to be looked at more closely.

Petri was able to land star Marcello Mastroianni at the perfect point in his career. Although he was already an award-winning actor, this pint had him just finishing up "La Dolce Vita" and about to start "8 1/2", quite possibly the two biggest Italian films of that era, and ones that would make him an international star.

This film's legacy includes the story of cinematographer Carlo DiPalma, who went on to make some notable Italian films (including "Blowup"), and perhaps more interestingly, a dozen movies with Woody Allen in the 1980s. This was also an early film for composer Piero Piccioni and his jazzy piano, which really moves the film forward at every turn. He would eventually contribute to over 300 soundtracks at least up through 1990.

Both the crisp black-and-white photography and the catchy, memorable score are key pieces of what make this film worthy of further inspection. But there is also the unusual narrative structure. Perhaps due to poor dubbing, some viewers have mistakenly wondered why the lead character seems to be living two lives. In fact, the answer is quite clear: much of the film is a flashback. While probably not unique, this structure does allow the audience to better understand the current predicament of our hero in little pieces... and then decide for themselves. This method also suggests that a second (or third) viewing might further elucidate the plot.

The Arrow Blu-ray features a 2K digital restoration from the Cineteca di Bologna, and it looks stunning. We also get an introduction by Italian cinema expert Pasquale Iannone and a nearly hour-long documentary, "Tonino Guerra: A Poet in the Movies" by Nicola Tranquillino. While supplies last, each disc comes with a booklet featuring writing on the film by Petri expert Camilla Zamboni, Petri's own critical analysis of 1950s Italian cinema, plus a selection of contemporary reviews.

First film of Elio Petri and it is very well made. Bit confusing at first as we seem to be seeing two Marcello Mastroianni until we realise that we are. Flashbacks are well to the fore in this noir like, Kafka-esque tale of a antique dealer, man about town played by Mastroianni. He has an older than he, lover and benefactor and a younger girl as well although his older lover seems to encourage this. Unfortunately she gets killed, he gets called in and the police reckon they have an open and shut case. Terrible scenes in a bare prison cell where he awaits his fate and he's joined by a couple of guys to keep him company, or rough him up, or incriminate him or something not too good. We are constantly having to try and determine whether this guy is the killer or not and just how wretched a person he is with his healing and dealing and his womanising and cadging of money. Petri engages us throughout and also encourages us to attempt to evaluate goodness and to sample police justice in action.