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IMDbPro

À chacun son dû

Titre original : A ciascuno il suo
  • 1967
  • Tous publics
  • 1h 39min
NOTE IMDb
7,0/10
2 k
MA NOTE
À chacun son dû (1967)
CrimeDramaMystery

Ajouter une intrigue dans votre langueIn Sicily, a leftist professor investigates the "honor killings" of two friends, uncovering a tangled web involving politicians, the Mafia, the Church, and the widow of one of the victims.In Sicily, a leftist professor investigates the "honor killings" of two friends, uncovering a tangled web involving politicians, the Mafia, the Church, and the widow of one of the victims.In Sicily, a leftist professor investigates the "honor killings" of two friends, uncovering a tangled web involving politicians, the Mafia, the Church, and the widow of one of the victims.

  • Réalisation
    • Elio Petri
  • Scénario
    • Elio Petri
    • Ugo Pirro
    • Leonardo Sciascia
  • Casting principal
    • Gian Maria Volontè
    • Irene Papas
    • Gabriele Ferzetti
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,0/10
    2 k
    MA NOTE
    • Réalisation
      • Elio Petri
    • Scénario
      • Elio Petri
      • Ugo Pirro
      • Leonardo Sciascia
    • Casting principal
      • Gian Maria Volontè
      • Irene Papas
      • Gabriele Ferzetti
    • 12avis d'utilisateurs
    • 19avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 6 victoires et 2 nominations au total

    Photos19

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    Rôles principaux19

    Modifier
    Gian Maria Volontè
    Gian Maria Volontè
    • Prof. Paolo Laurana
    Irene Papas
    Irene Papas
    • Luisa Roscio
    Gabriele Ferzetti
    Gabriele Ferzetti
    • Avvocato Rosello
    Laura Nucci
    Laura Nucci
    • Madre di Paolo Laurana
    Mario Scaccia
    Mario Scaccia
    • Prete
    Luigi Pistilli
    Luigi Pistilli
    • Arturo Manno
    Leopoldo Trieste
    Leopoldo Trieste
    • Deputato Comunista
    Giovanni Pallavicino
    • Raganà
    Tanina Zappalà
    Luciana Scalise
    • Rosina - amante di Manno
    Orio Cannarozzo
    • Commissario La Marca
    Anna Rivero
    • Signora Manno
    Michele Jannucci
    Franco Tranchina
    • Dr. Antonio Roscio
    Carlo Ferro
    Carmelo Oliviero
    • Arciprete Rosello
    Valentino Macchi
    Salvo Randone
    Salvo Randone
    • Prof. Roscio
    • Réalisation
      • Elio Petri
    • Scénario
      • Elio Petri
      • Ugo Pirro
      • Leonardo Sciascia
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs12

    7,02K
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    Avis à la une

    7Rose_Noire

    Sicilian sunbath for a deadly game

    A left-wing professor stressed by moral doubts (Gian Maria Volonté) has the rather strange idea to try to break the ambiant omerta in order to clear the violent death of two friends, honor issues happening just to conceal quite more material interests. But Sicily and its little folk of mute but watchful characters don't seem ready to accept this kind of trouble. Bound with beauty but ungraspable like the doctor's few disconsolate widow (Irene Papas), the island and its stifling sun know how to subdue the one who dares to upset their immutably established order, between a conspicuous church and an invisible mafia.
    7Bunuel1976

    We Still Kill The Old Way (Elio Petri, 1967) ***

    Goodish blend of Mafia movie (still pretty much uncharted territory at the time) and political thriller, with a hesitant romance thrown in for good measure; the result is generally absorbing, thanks largely to uniformly excellent performances, gleaming location photography (Sicily, of course) and a wonderful score by the ever-reliable Luis Enrique Bacalov. Heading the cast is Gian Maria Volonte': the film launched the political/social conscience phase of his career after a stint doing Spaghetti Westerns. His character is that of an intellectual loner who finds himself in over his head when he starts probing into the assassination of two friends – including philanderer Luigi Pistilli – which leads to his falling for the other's wife (Irene Papas). Though the identity of the villain (as ever, an eminent member of the community and far closer to the hero than he envisaged) comes as no real surprise, the investigation – involving, among other things, the hushed participation of cleric and senator alike – and the disquieting revelations that emerge from it, lends the whole a deeply cynical tone (culminating in the downbeat climax depicting Volonte''s own extreme fate) while cementing the Mafia's reputation as strictly a 'family business'. The Italian DVD includes an interesting half-hour featurette detailing the making and reception of the award-winning film (including the fact that the author of the source novel, Leonardo Sciascia, was dissatisfied with how the script turned out); the interviewees are co-scriptwriter Ugo Pirro, the wife of the late Elio Petri, and composer Bacalov (who is regretful that, given his felicitous working relationship with the director here, the opportunity never arose for another collaboration).
    6Bezenby

    Sicily - Where nobody sees nothing, ever.

    Gian Marie Volonte's got himself into some hot water this time! Doesn't he know that in Sicily, if someone gets murdered, you just keep your trap shut and let whoever the police randomly arrest go to jail?

    Luigi Pistilli keeps getting letters telling him he's a dead man, and its making him a bit paranoid. Nevertheless, one morning he says goodbye to his wife, then his lover, and sets off with his friend to go hunting, only to find himself the prey. Two corpses later, we've got a bit Sicilian funeral to go to while the police chat about the people attending, including a well-respected lawyer (Gabriele Ferzetti) who's cousin (Irene Papas) was married to one of the victims, and Gian Marie Volonte, a professor friend of the two who starts poking in places that should not be poked.

    Pistilli is generally thought to be the target as he was a bit of a fanny rat and some family members are arrested, but they are all illiterate so how could they cobble together those threatening letters. Volonte also finds that the words in the letter were from a Vatican-based newspaper, which leads him to the priesthood. Oh, and a lot of people are related in this film, so one of the priests is the uncle of Papas and Ferzetti.

    It's a formula you'll see a lot of in these films, so it's just as well the lead actors are good! Volonte has the hots for the widow Papas and has to basically restrain himself every times he meets her, while Papas kind of has the hots for him too, leading to all kinds of awkward moments. Volonte is very good at the bookish professor who is just too smart and curious for his own good, while Papas just smoulders as the widow.

    It looks absolutely scorching hot in Sicily in this film, and just like Damiano Damiani's Day of the Owl, the island itself is a character, with all the strange culture that lives on its land.

    The only let down of the film is that the plot is a bit predictable, but it's by no means a bad film.
    susanascot

    The more you know, the more you are in danger.

    Paolo Laurana is a kind of leftist intellectual who chances to be intrigued by a mysterious double murder in the Sicily of mid Sixties. In his personal detection for murder's instigators, he will run into a plot in which both politicians and mafia racketeers are involved. So curiosity will become a very dangerous affair. Taken from a novel by Leonardo Sciascia (1921-1989), A ciascuno il suo (1967) is a film where high rank acting is at its top. Cast (Gianmaria Volonté, Irene Papas, Gabriele Ferzetti, Salvo Randone, Luigi Pistilli. Mario Scaccia, Leopoldo Trieste) is perfect and well-combined, direction (Elio Petri, 1929-1982) is powerful and impressive. If compared to the novel, Elio Petri's film (written with Ugo Pirro) may seem short of that illuministic pessimism that breathes through Sciascia's books, but Laurana's rationalistic search for truth retains that `bitter taste of intelligence' which is one of the major feature of Sciascia's characters. A key film to understand historical condition of Italy in the Sixties.
    8christopher-underwood

    My misfortune was to pick this film to watch the night after watching, Illustrious Corpses

    This is a good, solid, beautifully photographed crime thriller. My misfortune was to pick this film to watch the night after watching, Illustrious Corpses. Now that Italian political crime thriller made in 1976 and based upon a book by Leonardo Sciascia is a near faultless classic with deep undertones and a broad scope that is simply a joy to watch. This, it turns out, is another film based upon another book by Leonardo Sciascia from 1967. How much more sensible it would have been to watch this one first. The thing is there is nothing wrong with this film except it is also about too easily explained killings that the lead character sets out to investigate and in the process overturns a hornets' nest, but there is much less action, intrigue and politics. Gian Maria Velonte is excellent as the professor who takes it upon himself to get involved when most people seem not to care. Interestingly this was the film that helped to lift this actor into more 'serious' films, after having made many spaghetti westerns, one of the last being face to Face also from 1967 when he also played a professor.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Film debut and only film performance of Anna Rivero.
    • Connexions
      Edited into Lo schermo a tre punte (1995)
    • Bandes originales
      Pour rêve l'hiver
      ("A Dream for Winter") (uncredited)

      Lyrics by Arthur Rimbaud

      Music by Luis Bacalov

      Sung by Léo Ferré

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    FAQ16

    • How long is We Still Kill the Old Way?Alimenté par Alexa
    • Watch the trailer online

    Détails

    Modifier
    • Date de sortie
      • 31 mai 1968 (France)
    • Pays d’origine
      • Italie
    • Langue
      • Italien
    • Aussi connu sous le nom de
      • We Still Kill the Old Way
    • Lieux de tournage
      • Cefalù, Palerme, Sicile, Italie
    • Société de production
      • Cemo Film
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 39 minutes
    • Mixage
      • Mono
    • Rapport de forme
      • 1.85 : 1

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