THE DAY OF THE OWL
Italy, 1968, 113 minutes, Colour.
Franco Nero, Lee J. Cobb, Claudia Cardinale, Nehemiah Persoff, Serge Reggiani.
Directed by Damiano Damiani.
The Day of the Owl is a film critical of the Mafia made at the same time as Elio Petri's We Still Kill The Old Way, but preceding the Godfather films and the trend in Mafia exposes. American comparisons would include The Brotherhood, Crazy Joe, Honour Thy Father. The film is written and directed by Damiano Damiani, a director of a wide range of films, some exploitive, others very melodramatic, for example The Tempter starring Glenda Jackson, Venus in Furs starring Laura Antonelli. This film as a very good cast, an excellent role for Claudia Cardinale. Franco Nero has an interesting performance as the upright but beaten policeman. A dubbed American cast includes Lee J. Cobb and Nehemiah Persoff. The atmosphere of Sicily is vividly re-created and the hold of the Mafia on A town presented critically but pessimistically.
1. Interesting social and personal drama? Audience interest in the Mafia and its hold? For Italian audiences? Universal audiences? Entertainment, critique?
2. Colour photography, atmosphere of Sicily? musical score? An authentic atmosphere for the drama?
3. The film as a character study: the presentation of the inspector, his background, ability, manner of investigation, control of his men, the team of police, dedication, aim at breaking the Mafia hold? His orthodox and unorthodox devices? His despising the unorthodox methods? Antagonism towards the Mafia chief? Arresting the men, interrogating them, letting them go, trying to trap the guilty? The discussions with Rosa? His being shut out by the local inhabitants, especially Rosa? His growing desperation? The final discovery of the body and his disappointment? His being removed from the case? The Mafia chief's tribute to him - that he was a man of principle and courage? The pessimism of his final defeat and Mafia triumph?
4. Claudia Cardinale as Rosa - the Italian wife and mother? The first introduction to her and the disappearance of her husband, her child? Her continued concern about her husband and hope for his reappearance? The false hopes? The lying messenger on the motor bike? The discussions with the inspector - her wanting to help but her excluding him because of local pressures? The men flirting with her? The flirtation with her in her own home? The attempts to blacken her name? Her sorrow, fear? Her being called before the Mafia council and their intimidation? Her final unwillingness to help the inspector? Her future? A rounded portrait of an Italian woman?
5. The Mafia chief and his hold over the town? Lee J. Cobb in the role? Type, presuppositions, henchmen? Money interests, roads and buildings? Murders? Arrest and interrogation? Political intrigue and political connections? His finally being released? The tribute of the people in the city? His attitude towards the inspector?
6. The Mafia chief's henchmen and entourage? Their jobs, hit-men, bosses with the work force? Manipulations, murders and cover-ups? Arrests? Interrogations? The mutual support? The henchman proposing to Rosa, his being arrested, interrogated, released? The Mafia winning?
7. The presentation of Italian codes of behaviour and loyalty? The values of loyalty overcoming those of truth? The initial murder? The cover-up? The removal of witnesses? The blackening of names?
8. The picture of the police, their methods of investigation, interrogation? Difficulties? Clashing with Mafia codes?
9. The style of the Sicilian city? ordinary life? Subservience to the Mafia chiefs? The hold of the Mafia in Italy - films like this contributing towards the exposure of the Mafia?
10. How well did the film work on the level of murder investigation, mystery, personal and social drama?
