San Babila ore 20: un delitto inutile

I only learnt of this one fairly recently but became especially interested in watching it after reading a review, which made it sound quite intriguing. Foolishly, I did not bother to compare the running-time so I did not immediately realize that the version I acquired soon after was trimmed…but, of course, along the way I noticed that a couple of scenes which had actually been highlighted in that assessment were definitely missing here – incidentally, while my copy lasted for 92 minutes, the Italian DVD edition bears a running-time of 97, i.e. still 8 minutes away from the official length of 105!? That said, I was not enthused by the film as much as I had expected: for the record, it is the fourth effort by director Lizzani I have watched (about which I am 50/50 as of now – though I still have some 13 to go, and with at least 4 more at arm's reach!); by the way, this time last year I almost got to meet him personally at the Viareggio Film Festival, which I was all ready to go in lieu of a friend and local personality appointed to cover the event and who had bowed out for personal reasons…but who then managed to get his affairs in order by the time he had to leave for Italy!

Anyway, to get back to the film: it deals with a quartet of neo-Fascists at large in the country's industrial capital, Milan, their activities mostly centered around the titular square. What we get is uncomfortable viewing, not just for their outbursts of hedonism and terrorism but also for the apparent leniency (virtually equating to compliance!) with which the authorities handle them – though I do not buy Lizzani's suggestion that, because one of their number is a Police informer and some may be the off-springs of leading citizens (in fact, we first see them attending the funeral of a "gerarca", an official of the former Fascist Party...and, yet, their families have proved huge disappointments to these kids, thus serving to fuel the latter's disenchantment all the more), the Law can simply afford to look the other way as if nothing was going on!

However, this is not the only logical flaw within the film: one of the boys is depicted as an impotent who, in order to get his personal elation when rounding up a most obtuse and irritating local girl (played by A BAY OF BLOOD {1971}'s Brigitte Skay) for kicks, he has to rape with a truncheon – as per the afore-mentioned review, since this is one of the edited bits! – in the dingy basement of a household-goods shop where his pal works; so far, so good – but, then, we are supposed to believe that because of this unfortunate hang-up, he is also unable to 'perform' as a political animal: consequently, he chickens out by failing to light the dynamite charge that he was asked by his "camerati" to plant in an office building!; when his 'treachery' is discovered (he had initially covered his tracks by claiming that the fuse was damp and it could well go out), he is ordered to make amends by 'eliminating' an enemy of Fascism (whose resurgence here, incidentally, is never properly explained or, worse still, denounced!).

The choice of victim falls upon a student who, on the town with his equally young girlfriend, has no time for politics and happens to be spotted by the gang throwing away a Party manifesto he had just been handed by a rallying member. So, the quartet spend the night chasing the couple in the hope of getting them to some secluded place and, when they do, viciously, repeatedly and pointlessly (hence, the film's sub-title AN UNNECESSARY MURDER) knife them to death. In keeping with this idealized scenario (though, to be fair to the film-makers, such an apparently motiveless incident did indeed occur at San Babila and which inspired this in the first place), ever the weakling, the impotent boy goes home to literally spill his guts out before his long-suffering mother (whom he had constantly badmouthed in the presence of his friends as a sign of independence) – with her unnatural doting suddenly hinting at the onset of an incestuous relationship!

While the picture is undeniably raw (a semi-documentary feel and being mainly peopled by unknowns certainly helped in this regard) and strongly-felt (as were a good many efforts to emerge during this particularly tumultuous era in Italian history), I must say that I was not especially involved in the plight of any of the characters: be it the kids (who are practically interchangeable and never truly convince when it is required of them to spout their political beliefs!), their parents or their victims (despite taking care to introduce them half-way through so as to drive home the message that they are decent, hard-working folk!). By the way, it is odd that a scene depicting the neo-Fascists disrupting traffic by breaking into an impromptu march emulating the infamous Nazi goose-step should be cut from this version of the film when another in which the boys are shown parading fake penises bought from a local sex shop in the light of day (an intimation, perhaps, of their youthfulness, that is, being impetuously prone to 'shocking' pranks…but which clearly does not hold water in the face of the recent London riots, where many of the offenders were found to be still under-age!), causing no end of consternation for the public and for which they are actually arrested, has been retained!

The film centers on a group of young neo-fascists who, driven by a misguided sense of purpose and anger, commit a senseless murder in Piazza San Babila. The plot unfolds over the course of a day, capturing the escalating tension and reckless behavior of these disillusioned youths. The narrative structure is effective in maintaining a tight focus on the characters' descent into violence, but at times it feels overly simplistic and lacks deeper exploration of their motivations.

The performances in "San Babila Ore 20" are a mixed bag. The young cast, including Daniele Asti, Pietro Brambilla, and Brigitte Skay, deliver raw and sometimes unsettling portrayals of their characters. Their performances convey the volatility and confusion of youth, but occasionally fall into melodrama. Veteran actors such as Lino Capolicchio and Giuliano Esperati provide a steadier presence, anchoring the film with their more nuanced portrayals.

The cinematography by Giulio Albonico effectively captures the gritty, urban landscape of Milan. The use of handheld cameras and natural lighting enhances the film's documentary-like feel, immersing the audience in the chaotic environment. The visual style aligns well with the film's themes, creating an atmosphere of unease and unpredictability. However, the occasional shaky camera work can be disorienting and detracts from the viewing experience.

"San Babila Ore 20" succeeds in portraying the dark side of youthful rebellion and the dangerous allure of extremist ideologies. Its depiction of senseless violence serves as a poignant commentary on the sociopolitical climate of 1970s Italy. However, the film's impact is diminished by its one-dimensional characters and sometimes heavy-handed approach to its subject matter. While it is a significant piece of Italian cinema for its historical and cultural context, it doesn't quite reach the heights of more critically acclaimed works of the genre.

Eh, too grim. Then again, what was I expecting from a film about neo-nazi youngsters in Milan? A custard pie fight?

From the rudimentary research I did about this film it seems that the Piazza San Babila was some sort of hanging around place for fascist types in the seventies. I'm sure they weren't allowed to rampage to the extent that these lads do in this film though.

Fours youths - Franco, Fabrizio, Big Malky and DJ Industrial Pukegrinder are all members of a fascist group whose main rivals in Milan seem to the communists. Fabrizio is their leader, but he also seems to be an informer for the police and may also just be doing what he does for kicks. Franco is the weak link, a mummy's boy and a virgin, much to the amusement of the others. In fact, one of their first actions is to try and break his duck, using ditzy model Brigitte Skay to do so. When he can't crack a fatty, he goes nuts and assaults her with a truncheon. Symbolism, eh?

I think that the events in this film are supposed to happen in one day as well, but if that's the case these guys sure get around a lot. We see one of them fighting with his crazy, abusive father. Another quits his job when caught with a knife. At various points they argue their fascist dogma with fellow students and when they finally get around to doing something constructive they plan and attempt to blow up a communist party headquarters.

To be honest things meander quite a lot in this film and as the four are unrelentingly horrible I didn't quite connect to what was happening in the film. My only sympathies lie with Brigitte Skay, who is generally abused by Fabrizio and Franco. Even the murder at the end of the film goes on forever as our four chase a couple around Milan for what felt like about six hours.

Carlo Lazzani seems to be one of those directors who certainly had his own vision for things, but sometimes that vision failed him. This is interesting as it tries to tell a story from a different point of view, but it still suffers from an overdose of grimness as a lot of these 'raping, killing rich kids' films seems to have.

"San Babila ore 20: Un Delitto Inutile" is a neorealist Italian crime drama that unfolds in Milan during the 1970s. The film centers around a real-life event-the senseless murder of a young bank guard during a robbery at San Babila Square. The plot delves into the social, economic, and political issues of the time, offering a gritty portrayal of urban decay and the struggles of working-class individuals.

The performances in the film are raw and authentic, capturing the desperation and hopelessness of the characters. The cast, led by a young actor, has delivered compelling portrayals, effectively conveying the anguish and turmoil of their respective roles.

The cinematography of "San Babila ore 20: Un Delitto Inutile" is characterized by its stark and unembellished visual style. The use of handheld cameras and natural lighting adds to the film's documentary-like quality, immersing the audience in the harsh reality of the story.

The film's portrayal of the social and political unrest in Italy during the 1970s is both poignant and thought-provoking. It unflinchingly depicts the grim reality of urban life and the struggles of the working class. The story's relevance to the socio-political climate of the time gives it a lasting impact, resonating with audiences long after the credits roll.