Salvo

It's certainly original. Name me another Mafioso hit-man movie that has at its centre a blind heroine whose traumatic experience at the hands of a killer seems to reverse the effects of her blindness. If we are in the territory of miraculous cures Fabio Grassadonia and Antonio Piazza's movie never stresses the fact but proceeds to take us down roads we may not be used to. A mostly silent Saleh Bakri is Salvo who, on a job to kill the man who has set him up, encounters the victim's blind sister, Rita, and rather than kill her takes her along for the ride. However, it would appear the shock has restored Rita's sight, at least partially, which seems as devastating to her as being kidnapped by a hit-man. Sara Serraiocco is excellent as Rita and Bakri is highly effective in the title role, particularly in view of the fact that he hardly ever opens his mouth.

Even leaving aside the blind girl scenario, "Salvo" is unusual in other ways. Salvo is fundamentally an existentialist character who hides away from the world and is waited on hand and foot. His encounter with Rita opens his eyes as much as it does hers, awakening in him a tenderness he may not have realized was there. It's also a film that takes its time. Salvo and Rita are often the only characters we see and the conventional thrills of the Mafioso movie are conspicuously absent. Nor is it a conventional love story; the relationship that develops between captor and captive doesn't go along conventional lines and, like much else in the picture, is mostly conducted in silence and in darkness. Like I said, it's certainly original.

I knew i wanted to have it the moment it ended. I watched this movie almost a year ago and was patiently waiting for it to come out on DVD.

An excellent movie that through great acting, photography and story it allows one to feel the streets, the fear, the adrenaline, the suspense and an unexpected love of life for someone that lives in epicenter of the mafia world.

It certainly does not fit the classic Hollywood movie mold and happy / hopeful ending. If this is what you're looking for you better skip this movie. This is a more thoughtful and intuitive movie that requires you to have the same insight as when you're watching an old allegoric painting. In this sense, i feel appreciation for this movie demands quite a lot from the spectator, but richly rewards him. This is the kind of movie i love.

Acting from Bakri and Serraiocco is excellent. I enjoyed very much the way Grassadonia and Piazza tell this story.

Italian cinema has produced some excellent movies recently and i think they present a superb alternative to the mainstream Hollywood products. Directors like Sorrentino and Giordana, together with actors like Favino, Servillo, Stuart and Placido amongst others have created top quality movies.

The influence is obviousfor this film, very well made but also suffering from some unnecessary lengths. The main actor is maybe not Alain Delon but quite good enough to hold the comparison. Lonely hired killer who happens to face existential questions, a topic already seen many times before, even in Asian crime films, but rarely in European ones. Italy is a country, great provider of mafia topics, - I wonder why ; ha ha ha - so it is normal that Italy made this one, unlike Spain, Germany or Norway. In the USA, of course there were tons of them all over the years, especially TV products, or direct to DVDs stuff. No, this one is a good film, not that surprising though, with expected results at the end, but a good Italian crime feature.

Saw this at Palm Springs Film Festival, Jan '14. Had high expectations that this would meet the film description. It opened with some action, but then got very plodding as the main character first met the female lead. I suppose this was artsy or character development stuff, but for me, it was just slow.

The movie did not lead me to care emotionally about either main character.

At our screening the film ended and the audience *moaned*. Never heard such a reaction at a film festival, where the movies are supposed to be the best of the best.

Avoid this one.

Whenever I read the words "arthouse action", I immediately think of Drive, I can't help it. It's an instinct. So yeah, sort of expect that same sort of atmosphere, and while the mood and pacing here is like that in a way, it's just not all that interesting. Inherently it is, the cinematography is quite good, as is the editing. The lead actor seems a bit empty, and not in the way that it worked in Drive. There could've perhaps been more there, seeing as how that's the way I really saw it not working. Still, there were some moments of inspired brilliance, the film wasn't always uninteresting, and it was nicely composed. by the end of it, I actually kind of liked it for some reason, and it's why I'm giving it more positive than negative despite my review not sounding like that at all