L'assassin

A socialite is murdered and her playboy lover, (the young and handsome Marcello), is brought in for questioning. During his stay in custody we get to see the real sneaky playboy in action via flashback. Is he guilty or just a sleaze. Cleverly constructed and effectively shot by Woody Allen's favourite camera person, Carlo Di Palma.

The antiquarian Alfredo Martelli (Marcello Mastroianni) is brought to the precinct without any explanation to be interviewed by the Police Inspector Palumbo (Salvo Randone). During the questioning, Martelli learns that his wealthy mistress Adalgisa De Matteis (Micheline Presle), who is older than he, was stabbed to death and he is the prime suspect of the police officers. While in jail, Martelli recalls moments of his life with Adalgisa and his love affair with the young Nicoletta Nogaro (Micheline Presle). Meanwhile the police proceed with the investigation.

"L'assassino" is a dated thriller by Elio Petri in his debut as director. The storyline slightly recalls Franz Kafka's "The Trial" where a man is arrested for an unspecified motive. Alfredo Martelli is a cynical man and the lack of communication between the characters keeps the atmosphere dark and gloomy. The black and white cinematography on the restored DVD is magnificent. My vote is six.

Title (Brazil): "O Assassino" ("The Assassin")

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.

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.