O Assassino

"L'Assassino" was Elio Petri's remarkably assured debut. It's a Kafkaesque story of a man, (Marcello Mastrioanni), under investigation for the murder of his former mistress, (Micheline Presle), The film flits back and forth between the investigation and events in Mastrioanni's past life. It's clear from the outset that what interests Petri isn't so much the prospect of making a thriller but dissecting the protagonist's way of life. This is the Italy of La Dolce Vita or at least the sweet life that was emerging for people like Mastrioanni if they could only keep themselves free of accusations of murder. This is one of his greatest performances but the film itself disappeared soon after its release and is now something of a cult film. Carlo Di Palma was responsible for the superb black and white cinematography.

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.

More than a whodunit ,it is more some kind of jig saw puzzle, in a fragmented story full of flashbacks , a cat and mouse play between the suspect (Mastroianni)and superintendent Colombo (sorry ,Palumbo,played by Salvo Randone) and a depiction of the latter's method -one can wonder whether his mates in his cell are really convicts ;besides ,as the movie progresses, the principal is shown in a less flattering light (scene of the ""doctor" ).

Very good acting by the principal ,who seems caught in a kafkaesque situation (it's a long time before he learns what he's accused of :the phone call verges on cynicism on the cop's part)his questioning and his imprisonment is a real descent into hell; Micheline Presles has a relatively short screen time,but she makes all her scenes count .

Elio Petri would improve his technique in " indagine su un citado al di sopra di agni suspetto" (1970)

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.