Cadavres exquis

The good news first: Cadaveri eccellenti is now out on DVD. Which is how we came to see it again last night. - Second, my own two cents since I've just read the negative comments on the discussion boards, where people are actually wondering if this is the worst movie ever. No way! OK, my own approach to it was an uphill journey. First saw it ages ago because Tre fratelli and Cristo si è fermato a Eboli had impressed me. This one is quite different, and I didn't get a thing. Years later, I stumbled over the story it's based on: "The Context. A parody" by Leonardo Sciascia. Even readers only passingly familiar with Sciascia will realize that the baddies are never caught in his books, reflecting the realities of his native Sicily. Of all the books of his I've read, this one was the toughest, because evil is omnipresent and not identified with individuals. A parody perhaps, but a bitter one, and one he took a long time to finish because writing it distressed him. Rosi read it on a long journey and it hit him like lightning. Like Sciascia, he was interested in the ways power corrupts people. So that's what we have here: a relentless gallery of corrupt officials in every walk of life. Not only in the Mafia but also in the realms of politics, justice, the military and religion. Max von Sydow's character is as repellent as anything I've ever seen. The whole caboodle is not meant to be fully understood, and that's where a large part of that all-pervading sense of menace comes from. The locations are gorgeous - wish I knew where that bus stop was where Rogas watches the procession of high-and-mighties drive by. And those catacombs! Someone here said the location wasn't clearly identified, but given that both Sciascia and Rosi were Italian, and that the film features a map of Sicily rather prominently in one shot, I beg to differ. IMHO this is indeed Sicily. And bella Italia. Berlusconi may look more benign than certain of his predecessors but... oh, all right, all right, this ain't the Speaker's Corner. The rest is silence.

Grab your chins and prepare to do some stroking because we are in serious territory here with Francesco Rosi's Illustrious Corpses.

No jaw-socking, car chases and even gunfights here, but don't run off to Maurizio Merli yet. What we have here is a nice, thick Spezzatino full of meat (plot), vegetables (twists), and herbs (cameo appearances by various Italian genre actors), all mainly revolving around middle-aged policeman Rogas.

The general tone of the film is set when we see an elderly judge wandering through the Catacombe dei Cappuccini, looking at the corpses and perhaps considering his own mortality. That would be ironic because about a minute after he leaves someone unknown assassin shoots him.

This brings us to Rogas, Italy's best detective, brought in because killing judges isn't generally approved. At first Rogas brings in the local mob, but as one Don states: "You know you are wasting your time with us." While he's doing that another judge is killed on a highway, and yet another while Rogas is in the same building. This piles significant pressure on Rogas as the situation becomes, as one person puts it 'political'.

Rogas reckons he's nailed the case when he starts digging into trials involving all three judges, which leads to him finding a suspect for whom every image has been destroyed, including photo albums and even police documentation. This leads the film into giallo territory for a brief time as we see another judge get stalked and murdered, while Rogas is pushed to look at subversive groups and bag a quick arrest by his superiors.

This two hour long film that has very little action should be snooze-fest, but it is relentlessly fascinating to watch Rogas weave his way through the political labyrinth of Italy's Years of Lead, speaking with bemused, yet sinister Senators like Fernando Rey (great here), angry, unrepentent judges like Max Von Sydow (also great), and the Communist party (including journalist Luigi Pistilli). You also get cameos from Marcel Bozuffi and Tina Aumont thrown in for good measure.

What also keeps you watching is the ever growing sense of doom and paranoia that begins to surround Rogas as he loses confidence and trust in every single person he deals with, leaving him constantly looking over his shoulder. There's a scene where he realises his telephone is bugged that's as foreboding as any horror film.

I highly recommend this one - it's dark and complex. Like a Spezzatino.

Near perfect political thriller, with a perfectly cast Lino Ventura in the leading role. Supporting roles, cinematography, direction and score, it's all very close to perfection. This film has this unique dark, typical European 70's-movie atmosphere, of which these French-Italian productions seem to have the copyright.

A big 8.

I managed to see this at a film society showing about 25 (oh, help!) years ago. I have never forgotten the air of menace and foreboding it generates as Lino Ventura (a great performance) doggedly pursues his case among the great and the good. An air of strangeness, too, such as the strange rumbling noises Ventura hears when he moves to his anonymous new apartment complex.

This is a film I would dearly love to see again but for the last quarter of a century (makes a girl think) nothing, nada, zip! I doubt whether the current controller of the Italian media will be interested in releasing a film about political conspiracy for public consumption but I wish someone would. This is a film which deserves to be seen and to be appreciated much more widely.

This is a remarkable film which captures perfectly the greyness, cynicism and violence of the Italian political scene in the 70s and 80s, the 'years of lead' as Italians call them (anni di piombo). The highly script, acting and direction are all top notch and the twists and turns keep you glued to the screen. It really deserves to be better known. The ending is extraordinarily downbeat! No Hollywood feelgood in this one.