5 est le numéro parfait

This movie is a great case study on what to aim at AND on what to avoid when adapting comics to cinema.

It has a low IMDb score and was obviously not a commercial success, both of which are highly understandable. Still, there is merit to how Igort has treated his own creation. Come to think of it, there are not many comic book creators who have personally taken on the challenge to direct live action movies based on their own work. Enki Bilal tried it and did some fan-pleaser work. The late and great Suat Yalaz remains unique in reaching box office success by writing and directing Karaoglan based on the comic he wrote and illustrated.

There is a very good reason to why Marvel Comics Universe is not employing comic book artists as directors: Cinema is a different medium and it takes more than emotional devotion to adapt sequential art to an audiovisual platform. You have to know what to sacrifice, and why.

There are several problems with "5 è il numero perfetto" but it pays off to bear with them and watch it till the end.

First of all, the overall visual approach looks more like a ripoff of other, more notable comic book adaptations. Is it so, though? Not really. Igort may have had his share of influence from Frank Miller, but neither the visual aspect nor the underlying story are things that could not have come out of his own pocket had Sin City not shaken theaters 16 years ago.

There are just too many movies from the recent decades that come to mind as you are introduced to Igort's Napoli: The Road to Perdition, Dick Tracy, John Wick, and even Dark City (mostly thanks to how the protagonist's nose compares to the Nosferatu references in that masterpiece!).

Each and every one of these predecessors have had quite an impact on how we perceive story and what we expect to see on screen when a graphic novel is the source material. This is why "5 is the perfect number" fails to "look" original. But it kind of IS original. Because the imagery of Igort comes from a different place.

Throughout the whole experience, I remained a fence sitter on whether to like or dislike the artistic choices. I could relate to the need to be "relevant" by welcoming in the John Wick pace and blood effects in the longest standoff scene, but the cheap look of those unfortunate flashback inserts from the protagonist's past were unbearable.

This is what happens when a director treats the source material of a film as his own child. Unless you are a natural born storyteller that can handle a moment in cinema as well as a frame in a comic book page, you just cannot overcome the urge to throw in everything you got regardless of how much they would improve the outcome. In that sense, Igort seems to have fallen to the very same trap with Enki Bilal, failing to repeat the success of Suat Yalaz.

The feel of the flow matters more than the composition of colors. That's it.

Strangely though, despite all the obvious mistakes, this film is kind of better in spirit than most of its predecessors that may include some Hollywood hits. Because, in the end, once the devotion to the comic book origins is absorbed and we are left with the essence of the story, we get to see how well cast Toni Servillo was as the lead. The "Napoletan" accent, when met with his deep, captivating voice, adds volumes to the suffering of the character. Peppino Lo Cicero is a very intriguing tough guy. He explains how he sees his existence as a "criminal" to his son, coming up with the analogy of how each creature functions in nature. Sounds like a cliche' at first, but the setting of that flashback scene and the usage of the kid's involvement with comic books was cool.

So was Peppino asking God "Do you understand me, Lord?" I don't recall many such scenes in which the confession / prayer of the bad guy turns into a two way street in which he actually seems to be expecting an answer while acting as if he and his God are equals in the course of the conversation.

Cool stuff galore, indeed: The music, the animated credits in the end, how Parador was introduced in the final act as a fresh new location, the stylish chapter openings...

The story that explained the inspiration for the name of the movie was awesome and could have made much more sense, but its narration was set in a small kitchen where the miscast Valeria Golino and the cornered Toni Servillo seemed not to be able to act to their fullest. Both the real time narration and the flashback scenes could have become really powerful, but rather they seemed wasted.

As I was watching that particular scene, I imagined how Tarantino could use such a dialogue. He definitely would have devoted more time building up tension and expectation, would open up the space a bit like he did in Jackie Brown in some key emotional scenes among Robert De Niro and Bridget Fonda. Yes, Tarantino would really invest in the story of that murdered cousin who had a reason to think 5 was the perfect number. Alas, Igort spent way too much time on circumstantial stuff to focus on such key scenes.

Again, the author / director obviously had a lot in his pocket. Valuable stuff. The problem is that the overuse of references (like a homage to Morricone) and the abundance of visual tricks steal away from the essential components of the movie, especially in the earlier scenes. Even though well thought individually, they become inconsistent. They make the author / director look like a Frank Miller wannabe. Igort is much better than that as a comic book creator, and so he would look like had his work been overseen by people like Robert Rodriguez.

I am giving this an 8 not because I believe it was executed so close to perfection, but because it deserves a score higher than that current 5.4, something that would help Igort's effort attract more attention, at least from the English-speaking admirers of comic book adaptations.

It's not often I get to see a movie based on a book or graphic novel AFTER having read the original work.

In this case, it happened, so I managed to actually pay more attention to details, and to see how it would have been adapted on screen by its SAME author, nonetheless!

Now, this didn't necessarily mean that it would be a good adaptation, the mere presence of the original author in the production wasn't a benefit (it already happened with another Italian movie based on a book, THE GIRL IN THE FOG, directed by its author and with the same main actor as this one, and that didn't make it so well despite it).

Also, I'm not one of those who demand absolute fidelity from an adaptation, because like many others have said "What works on page, doesn't necessarily work on screen"

And author Igort, as the director, perfectly understood this, and tried to give life to his graphic novel making the right adjustments, reproducing most of its style and adding new elements.

On the bright side, of course we must give the greatest praise to the main trio of characters. As always, Toni Servillo managed to show again his impeccable versatility, managing to shapeshift completely, from the psychological side to the physical one, especially thanks to the make-up, giving us an old, but still aggressive and proud "Guappo" ready to have his revenge no matter what.

And alongside him, a surprisingly fitting Carlo Buccirosso, better known as a comedic actor, but that here manages to be perfectly fine as Servillo's old companion, still ready to join the fray.

And also a very good Valeria Golino, that maybe could have been even more powerful.

The movie is also worthy a watch thanks to the impressive technical side, from the sets to the colorful cinematography. That together manage to give back the idea of a Naples totally immersed in the Noir aura.

But alas, this isn't enough to make this title a success.

Starting with one of the most troubled sides, the direction itself, managed by Igort, that starts off pretty well, managing to give the idea of a surreal shadow on the gritty and Noir atmosphere. But still, we're talking about a newcomer, an artist who never tried to direct a movie, and this can be easily noticed in the way Igort tried to mix the styles of Comic Books and Cinema. But unlike other peculiar experiments like SCOTT PILGRIM, the result is really a fragile one, making the narrative rhythm of the movie quite confused and uneven.

This reflects also on the action scenes, that sometimes gave me the impression of being almost part of a Videogame, and that frequently switch between slow-motion and more rapid moments.

And the screenplay itself fails miserably in reproducing the sense of the original Graphic Novel, with many of its main points treated too much superficially and without the same strenght, almost bringing you to ask why the characters act in a certain way.

So, all in all, not a trashy movie like many said, but still a failed experiment that could have done more.

Still worth a watch, but maybe for just one occasion.

No pun intended - and I had no idea this was based on a comic (or more than one?). But it does make a lot of sense - if you watch you'll understand. It is not Sin City style or anything, but the transitions and some of the visuals do really fit the bill. The acting is really good - and the effects? Also more than just good - especially if you do no mind a splash of violence/blood on your screen (no pun intended).

The movie is divided into chapters - which I reckon works fine for the story, but you'll have to be on board with it. Suspending your disbelief and all that. Crime does not always pay - how will it be here? Well when it comes to awards I reckon it did pay ... kidding aside, I was surprised when I saw how many prizes this has apparently won. More surprising that it got such a low score then, right? Well tastes you see? Everyone has their own opinion ... and you may feel that this does not deserve anything ... or you may be quite ecstatic about it ... hopefully you can sit back, relax and enjoy this for what it is.

This is a rather fascinating Italian crime drama, about which the production design and camera work is absolutely stunning. This old fashoned story is perfect for me and I doubt this film made a gross, because it is not destined to large audiences, only confidential ones. We don't see this kind of films anymore, since several decades. An old gangster or mafia killer seeks who killed his son. Nothing exceptional in this plot but it's gripping, cute and full of bitter charm and talent. Such a shame that it was not better known and recognized. I am so gled to have discovered this little pure gem from Italy.

5 Is the Perfect Number (5 è il numero perfetto), directed by Igor Tuveri, is a visually striking neo-noir set in 1970s Naples. Adapted from Tuveri's graphic novel, the film follows Peppino (Toni Servillo), a retired hitman thrust back into the violent underworld after the murder of his son. While rich in atmosphere and style, the movie struggles to fully capitalize on its thematic potential.

Toni Servillo brings his usual gravitas to Peppino, embodying the character's grief and resolve with understated intensity. Carlo Buccirosso and Valeria Golino deliver solid performances, but their characters are underdeveloped, leaving their emotional arcs feeling secondary to the film's aesthetic ambitions.

Tuveri's direction emphasizes meticulous visuals, with stark, almost comic-book-inspired framing and a muted color palette that captures the gritty essence of Naples. The film's production design and cinematography are undeniably captivating, creating a mood that feels both nostalgic and menacing. However, this focus on style often overshadows the narrative, which meanders between revenge thriller and existential meditation without fully committing to either.

The screenplay touches on themes of loss, vengeance, and societal decay but lacks the depth and cohesion needed to leave a lasting impact. Key plot points are resolved too quickly or glossed over, and the pacing falters in moments where the emotional weight should resonate most.

5 Is the Perfect Number is a commendable effort in style and atmosphere, but its narrative shortcomings prevent it from achieving greatness. It's a film that will appeal to fans of visually driven storytelling but may leave others wanting more depth.

Rating: 6/10 - A visually compelling but narratively uneven noir.