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.

SALVO as written and directed by Fabio Grassadonia and Antonio Piazza has won many awards. It is a lengthy (2 long hours) story (or view) of the life of a hit man and the reason it succeeds is the magnetic performance of Saleh Bakri ('The Band's Visit') who magnetizes the story with his penetrating gaze.

Salvo (Saleh Bakri) is a bodyguard and hit man for a Mafioso. After foiling an attack on his employer, Salvo hunts down the man who organized it – Renato - and encounters the man's blind sister, Rita (Sara Serraiocco). She causes Salvo to question himself and his existence. The camera focuses on close ups of Rita's face as she tries to disguise her fear by singing. Salvo performs the murder of Renato off screen while we see Rita's reaction. Salvo places his fingers over Rita's eyes and due to some sort of unexplained phenomena, cures her sight. She starts to see forms and shapes, but as the film goes on, her sight improves. Salvo buries Renato and keeps Rita in an empty factory for her security and the remainder of the film shows the transition of a solitary professional hit-man to a man who becomes vulnerable to human connection, offering an allegory with the inexplicable restoration of Rita's sight.

The film is in Italian, is long, dark and very atmospheric. Dialogue is scarce but well chosen. This is a mood piece with a message and well worth waiting it out to understand that message. Grady Harp, December 14

Now here is a slow moving movie with heart offering a distinctly creative turn in the noire genre. It's also a risk taker in that it may be a tough sell to believe a ruthless tough guy could develop a "soft side" and likewise that a victim could turn to love same said ruthless tough guy. It's a movie that requires a bit of thought to connect the dots and see whether you are convinced that the filmmaker succeeded in this ambitious and complex endeavor. While I admit I'm have some doubts about that, especially the victim turned lover side, it was an enjoyable watch in large part because one is led along by suspense that never culminates in the traditional way. Very much worth a watch unless you are expecting "traditional" mafia movie treatment.

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.

Salvo synopsis may seem like a tear jerker melodrama, but it isn't. This is the European art film at its best. Jean-Pierre Melville's Le Samourai may come to your minds, but even that is like blockbuster in comparison with Salvo. Long shots, minimum of words, no music - that is Salvo. Salvo Mancuso. He is defined by his acts, not his words. The plot is revealed slowly and if you are right kind of spectator, you will enjoy calm atmosphere of this movie. There are some great sequences I won't spoil. This is definitely that kind of film where directors precisely thanked about each shot. This is sad film about lonely people who "live their lives like a rats" (a sentence one of the character says in the movie). If you want to be enjoyed, look somewhere else. if you like film noir, slow films and films where you see the creators know their work with images and sound, this might be for you.