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Five Cent Cine At Home: The Traitor (Il Traditore)

Available: Streaming through the North Park Theater, here.


This latest entry in Mafia-inspired cinema (“we’re not the Mafia, we’re “La Cosa Nostra,” says the main character) is a more nuanced psychological portrait than those in more notable films, including Martin Scorsese’s “The Irishman.” Like Scorsese, prolific Italian filmmaker Marco Bellocchio focuses on one man, in this case Tommaso Buscetta (Pierfrancesco Favino), the first of the Sicilian mob to turn “pentito” (“penitent”) or informer. Buscetta insists he is not an informer, that it’s the Cosa Nostra that has changed, not his loyalty to the organization he joined decades earlier.

Based on a true story and one that most Italians know in detail.

Based on a true story and one that most Italians know in detail, Bellocchio presents Buscetta as highly principled. Besides asserting that he’s neither an informer nor part of a larger Mafia, Buscetta describes himself as “a man of dignity.” It’s only when the head of the Corleone family, Totò Riina, starts having children and distant relatives killed that Buscetta decides to talk.

Talk he does, to the revered (except by the Sicilian Mafia) organized-crime-fighting judge, Giovanni Falcone (Fausto Russo Alesi), who was assassinated by the Mafia after he turned his attention from Sicily to the bigger fish in Rome. Falcone so skillfully nets Buscetta that we never see the precise moment at which he turns pentito. When Falcone offers Buscetta an opened pack of cigarettes, Buscetta takes it, saying he never would have taken an unopened pack, as if that would have been a bribe (such principles in this dark world!). Much impressed by the judge’s intellect and integrity, Buscetta later acknowledges, “I loved Falcone.”

There’s also an element of the Theater of the Absurd in Bellocchio’s telling of the story, or perhaps that atmosphere is characteristic of Italy’s criminal courtrooms.

There’s also an element of the Theater of the Absurd in Bellocchio’s telling of the story, or perhaps that atmosphere is characteristic of Italy’s criminal courtrooms. The mob defendants are caged together at the back of the large, semi-circular hall that is the courtroom, and they freely smoke cigars, yell out expletives, and in one case, strip naked. Totuccio Contorno (Luigi Lo Cascio), a buddy of Buscetta’s, who also turned pentito, speaks colorfully in his native Sicilian dialect, to the dismay of the court officials who can’t understand him, adding another element of comedy to this tragedy.

Buscetta may be principled, but he’s also vain, arrogant, and self-aggrandizing.

Buscetta may be principled, but he’s also vain, arrogant, and self-aggrandizing. While Riina cares principally about La Cosa Nostra, the organization, Buscetta proudly admits that he, a soldato semplice (“simple soldier”) in the mob, places a higher value on his relationships with women. He’s shown painting his hair black while in prison, ordering fellow inmates out of the prison dormitory so he can have sex, and there’s a reference to the State paying for a facelift. He tells Falcone that because of his leadership qualities, people will do what he tells them to, and says publicly, “I am a legend.”

Bellocchio draws the audience into admiring this man, whose testimony put more than 300 people in jail.

Bellocchio draws the audience into admiring this man, whose testimony put more than 300 people in jail, many for life sentences (there is no death penalty in Italy), only to undermine this “hero” in the end, gradually revealing his vanity, his lies, and a murder this “simple soldier” commits on the orders of La Cosa Nostra’s “Commission.”

 

In interviews, Bellocchio, an award-winning director of more than 50 films, has said that he doesn’t make movies for an international audience; that “Il Traditore” was made for Italians, who are deeply familiar with the people and events of this story. But Buscetta is a more interesting figure than the passive Frank Sheeran, the Irish hitman for Jimmy Hoffa, and Bellocchio’s film, which was Italy’s submission for 2019 Best Foreign Language Feature, is more entertaining and complex—even for Americans—than Scorsese’s.


Available: Streaming through the North Park Theater, here.

Not available on dvd (yet).

Date: 2019

3.5 Stars (out of four stars)

Director: Marco Bellocchio

Starring: Pierfrancesco Favino, Luigi Lo Cascio, Fausto Russo Alesi, Nicola Calì.

Languages: Italian, Sicilian, Portuguese, English; subtitled in English

Runtime: 145 minutes


With movie theaters closed, Five Cent Cine is shifting gears. “2 film critics” will continue our usual reviewing schedule of about 3 movies per month, now labeled Five Cent Cine At Home, with all of those films available streaming or for rent or purchase. Each review will list (at the top) the source(s) for you to access the film in your own living room or bedroom.

In addition, we’ll be posting a “Streamer of the Week,” a review from our catalogue (more than 110 reviews dating to mid-2016) of a film available for streaming—a way to revisit a film you’ve already seen or to decide you would enjoy.


Also see reviews on…

Free Solo

Never Rarely Sometimes Always

Sorry to Bother You

Midsommar

Hidden Figures

Ford v Ferrari

Captain Fantastic

First Cow

Seberg

Ordinary Love

Portrait of a Lady on Fire

Uncut Gems

Les Misérables

The Last Black Man in San Francisco

Bombshell

1917

Little Women

Marriage Story

Queen & Slim

The Irishman

Roma

Cold Brook

Jojo Rabbit

Pain & Glory ( Dolor y Gloria)

Joker

Parasite

Downton Abbey

Ad Astra

Once Upon A Time In Hollywood

The Goldfinch

Good Boys

Written by 2 Film Critics

2 Film Critics

William Graebner is Emeritus Professor of History, State University of New York, Fredonia, where he taught courses on film and American culture. He is the author or co-author of 11 books and more than 50 scholarly articles, including essays on “The Treasure of the Sierra Madre,” “McCabe and Mrs. Miller,” “The Poseidon Adventure,” and zombie films as they relate to the Holocaust. Dianne Bennett, the first woman to head a large U.S. law firm, is a retired U.S. tax lawyer.

Dianne and Bill were early and passionate attendees at the Toronto Film Festival, and today enjoy the film scenes of Los Angeles, Rome, London, and Buffalo, New York. They began reviewing films for the Rome-based website “TheAmerican/inItalia” in 2016, have maintained a blog on Rome for a decade, and published two alternative guidebooks to the Eternal City. They still can’t resist going to the movies, not to mention the ensuing discussions, sometimes heated, over a bottle of Arneis at the nearest wine bar.

​And that's just the beginning of our reviewing process. For one or two hours we discuss the film, as one of us takes notes. The notetaker transcribes the notes and prints two copies. Dianne or Bill (usually depending on who had the most compelling understanding of the film, or who was most taken with it) writes the first draft of the review--supposedly taking into account the views of the other--which is followed by 3, 4, or even 7 more drafts. At some point, sometimes days later, when we're both comfortable with the result (or accepting of it, anyway), it's done.

https://www.2filmcritics.com

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