Displaying items by tag: Riccardo Scarmacio

NON SONO UN ASSASSINO/I ‘M NOT A KILLER

Italy, 2019, 110 minutes, Colour.

Riccardo Scamarcio, Alessio Boni, Edoardo Pesce, Claudia Gravini.

Directed by Andrea Zaccariello.

A strong and complex Italian drama about a policeman who has served 20 years and is arrested for the murder of his longtime friend and police chief. Film opens with a phone call, the friend reaching out to the policeman after two years, wanting to consult him about a case.

The circumstances of the killing immediately implicate the policeman, an old man working on a cactus observing him, his car being seen leaving the scene, the precision of the time and movements. The policeman is arrested.

The structure of the film is quite complex, the main action taking place in the present but continued flashbacks to the relationship between the two men and their other friend, a lawyer, now being asked by the policeman to defend him. And the screenplay puts strong emphasis on the prosecuting judge, her determination in the case, and her assistant who has a past history of conflict with the accused policeman.

And in the flashbacks, the audience is taken back to young men and their meeting, their friendship, their ambitions, and a key to a draw in the murdered man’s desk, passing from one to the other, in the hope that no one will open the drawer – but, eventually the draw is opened and a message about selling one’s soul to the devil revealed.

There are complications about relationships, the accused policeman being something of a womaniser, his relationship with his ex-wife, with his daughter and her presence during the trial. The lawyer gets some advice, goes to the scene, takes photos of possible line of vision from the cactus plantation to the murdered man’s house, important for the credibility of the witness.

There are Mafia connections and background and, a twist that many might have anticipated bringing the film to a sombre conclusion.

1. The title and expectations? Crime, the arrest, the investigation, the trial, the verdict? The aftermath?
2. The background of the Mafia, police corruption, judges and assassinations, power behind the scenes?
3. The Italian cities, police precincts, the courts, homes, holiday locations, the coast? The musical score?
4. The opening, Francesco, the Asian resort? The structure of the film, the sequences in the present, the phone call, Francesco’s reaction, driving, meeting his friend, leaving, news of the death? The arrest, the Judge and her assistant and reactions? The interrogations, the witness, Giorgio as the lawyer, his background, just go in jail, the focal at the airport, the professor, the contact with the prisoner, the characters, Giorgio and his investigations, the photos, the testimony in court, the verdict? Francesco and his protests of innocence? His relationship with his ex-wife, former companions, his daughter?
5. The structure of the film, the range of flashbacks, building up a picture of the three friends, University, their meetings, Georgio and his not being left anything by his father in America, Giovanni and his serious approach, their meetings, sharing, music? The issue of the key, never to be opened, passing from one to the other? Their careers, Francesco and 20 years of police work, Giovanni as a judge? Giorgio, attracted to Alice, drinking, wanting to be a singer? Their all coming together with the crime?
6. The judge, her determination, confrontations with Francesco, his responses? Michele, their working together in the past, Michele and his grudges, criticising Francesco, Francesco answering back? The speeches in the court, the new evidence of the photos, losing the case?
7. Francesco, the scenes with his wife and daughter, his dalliances with the other women, the underaged escort, her coming to the door and exerting pressure? Francesco and his reputation with women, with Alice? The friendship with Giovanni over the years, but leaving his office, no contact for two years? Making friends again with Georgio, relying on him in the court case?
8. Issues of police corruption, the final flashbacks, Francesco and the dossier on him, shooting Giovanni, taking the photo, opening the drawer and finding the message about selling oneself to the devil?
9. Georgio and rehabilitation, his letter to Alice, her coming to him? Francesco’s former wife coming to the door – an open question?
10. Francesco, in Asia, the life of luxury, his visit to the Mafia chief, warned to disappear?

TRE PIANI/ THREE FLOORS

Italy, 2021, 119 minutes, Colour.

Riccardo Scarmarcio, Eleanor Lietti, Alba Rohrwacher, Adriano Giannini, Margharita Buy, Nanni Moretti, Denise Tantucci, Alessandro Sperduti, Anna Bonaiuto, Polo Graziosi, Stefano dionisis, Teco Celio.

Directed by Nanni Moretti.

Nanni Moretti is one of Italy’s best known and best loved writers and directors. He is a popular favourite, a festival favourite, winning in Cannes in 2002 with his very moving film, The Son’s Room.

Usually Moretti write his own screenplays but here he has adapted an Israeli novel, transferring the action from Jerusalem to Rome.

As with the title, we expect different stories from the different levels of the three floors of the apartment building. While each has a distinctive and dramatic story, there are the linkings.

The initial story focuses on a family, a creative husband, played by Riccardo Scarmacio, a businesslike wife, the young daughter. Both busy, they entrust their young daughter to the neighbours, an elderly man and his wife, the old man suffering from some dementia, but the crisis coming when the little girl goes out with the old man for ice cream and they get lost in the park, he collapsing. The father then becomes obsessed that the old man has assaulted his daughter, coming to hospital and threatening him, totally absorbed and possessed. However, a dramatic turn of events when the granddaughter of the old man comes from Paris, flirts with the husband, is seductive and he succumbs.

In the meantime, there is a young pregnant woman, her husband away, her wanting to get to hospital, almost knocked over by a runaway car, a drunken driver who knocks over the pedestrian and kills her, crashing into the workplace of the initial family. The driver is the son of two prestigious judges who also live in the building, the father, played by Nanni Moretti himself with veteran Margarita Buy as his wife, is stone, unforgiving of his son who brutalises him. The pregnant young woman’s husband is away for work, returning periodically.

The reckless driver, callous and excusing himself, goes to trial, found guilty, imprisoned.

Five years pass.

The driver is to be released from prison, refusing contact with his mother, disappearing. The couple are bringing up their young baby but the mother, often intense because of her husband’s absence, dramatic trouble because of her husband’s fraud dealing brother who comes to stay at the house, but visiting her mother and fearing that she might have mental troubles like her mother.

In the meantime, the husband has been taken to court, prosecuted by the young woman but is found not guilty.

Another five years pass.

The audience has got to know the characters quite well. The daughter has grown up and is good friends with the young woman with whom her father had the relationship. On the other, the initial pregnant mother is pregnant again, but with her husband, but suffering from the mental disturbance that she feared. With the two judges, he dies and his wife gives their goods to charity – and the manager of the charity takes her to see her son, his new life. She goes to the husband of the victim that her son killed trying to make amends and discovers something more positive about her son.

Each of the episodes could have been a film in itself. But, this is an involving Italian drama, complex, raising many social and dramatic issues.

1. The work and career of Nanni Moretti, human and humanistic themes? His original screenplays? Awards? An adaptation here of an Israeli novel, transfer from Israel to Italy?
2. The title, the building, the interiors, stairs and corridors, apartments and interiors? The outside of the building? The street?
3. The different stories, the families, independence, interconnections? The structure of the film, moving from one story to the other?
4. The husband and wife, judges, professionals, the raising of their son, his drinking, driving recklessly, missing the pregnant Monica, running down the old lady, crashing into the basement? His arrest? At home with his parents, his resentments, their high demands, his professional father, expectations, disappointments, the son’s reaction, hitting his father, viciously kicking him? Ousted? His relationship with his mother, having to sake the side of her husband against her son? His angers, character, age, justified resentment, drinking, home arrest, leaving, the trial, his wanting favours from his parents for the trial, sentenced, in jail, not wanting his mother to visit, five years in jail?
5. Monica, on the road, alone, pregnant, looking for a taxi, desperate, the accident, in hospital, the birth, the difficulties, the baby, going home, bonding with the child? Her relationship with her husband, his being away for work, the phone calls? Her loneliness? Her fears about caring for the child? The encounter with the judge, her coming into the house, helping Monica with the baby? The husband returning home? The gift of the pram from his brother, his anger at his brother, condemnations? Taking the pram back, confronting his brother? The comment about Monica nicknamed the widow?
6. Lucio and Sara, their marriage, personalities, love for their daughter, their professional life, leaving their daughter with Renato, his age, touches of senility, playing games with Francesca, her writing his back, the reaction of the parents? The support of his wife? The accident and the crash into the basement? Lucio tense? Sara and her professional work? The need to entrust Francesca to Renato despite themselves? The return, their missing, Lucio and his anger, eruption, over the top, suspicions, the contrast with Sara? The search in the park, finding them, Francesca’s story, her idea for the war, the ice cream, Renato’s collapse? The position? Lucio and his accusations?
7. Renato in the hospital, the reaction of his wife, Lucio coming to the hospital, violent threats? Continue to suspicions? Francesca, at school, lonely, Lucio watching through the window, fostering his suspicions? The contrast with his wife and her commonsense?
8. Charlotte, coming from Paris, concern about her grandfather, the visits to hospital, coming to the apartment, the car, flirting with Lucio, her talk sounding permissive, her approach to him, his resistance, succumbing, the encounter, her lying, the loss of her virginity? His leaving? His being taken to court?
9. Five years passing, the changes, Monica and her relationship with her husband, pregnant again, giving birth? The visit to her mother, her mother’s mental health, her own fears? With Beatrice? The exposure of the brother, his swindles, coming to stay, his approach to Monica, playing with Beatrice, the secret, Monica telling the truth to her husband, his reaction, confrontation?
10. Lucio, the relationship with Sara, the truth, moving out, with Francesca? Her not knowing the truth? In court, the testimonies, Sara supporting him? Charlotte and her presence in court, the accusations, the jury, the decision, her wanting to appeal?
11. The judges, their son getting out of prison, rejecting his mother, his disappearance? The death of the judge?
12. Five more years passing? Lucio Lucio, calmer, his wife, his daughter, Charlotte returning, their being friends, Charlotte and the truth? The effect on his life? And is over anxiety about Renato and Francesca?
13. Monica, wandering away, the children, her husband, her phone call, like her mother, mental condition, institution? The father with his two children?
14. The judge, widow, her decisions about her husband and son, giving away the clothes and possessions, the head of the charity, recognising her, his request, travelling by car, wary, her son, married to the man’s daughter, keeping the bees, his mother going to see him, the continued rejection? The suggestion that he apologise to the man whose wife was killed?
15. The judge, the new dress, change of lifestyle, leaving the apartment, her memories? Going to see the widower, apologising on behalf of her son, the revelation that her son was sending jars of honey as some kind of atonement? Her future, possible reconciliation with her son?
16. A cross-section of Roman life, families, themes of mothers, themes of fathers and daughters, sexuality, sexual encounters, violence? Possibilities for forgiveness and reconciliation?

OMBRA DI CARAVAGGIO, L’/CARAVAGGIO’S SHADOW

Italy, 2022, 120 minutes, Colour.

Riccardo Scarmachio, Louis Garrel, Isabelle Huppert, Micela Ramazotti, Tedua, , Michele Placido, Vinicio Marchoni, Lolita Chammah,Nadia, Brenno Placido, Gianluca Gobbi, Gianfranco Gallo, Michelangelo Placido, Moni Ovadio, Gianluca Gobbi, Gianfranco Gallo.

Directed by Michele Placido.

Every person casts their own shadow. Celebrated 16^th-17^th century Italian painter, Michelangelo Merisi, best known as Caravaggio, certainly cast a long shadow, in his low life in the slums of Rome and beyond, in the world of art in his own time, in his artistic heritage. However, all that it is very evident in this portrait of Caravaggio. But the “Ombra”, “Shadow” of the title refers to the agent of the Vatican, an Inquisitor, who is commissioned to investigate Caravaggio and provide a report about his life, his being charged with murder, to the Pope.

This portrait is in pieces, something like jigsaw pieces, visualised for the audience, highly dramatic, not in chronological order, moving backwards and forwards in time, many flashbacks, providing the audience with images and insights for them to finally put together all these pieces for some kind of understanding and appreciation of Caravaggio, his character, his behaviour, his art, his and morality and yet a moral sense and religiosity, a genius and an opportunist.

The film has been cowritten and directed by veteran actor, Michele Placido, who also appears as a patron of the artist, Cardinal Del Monte. Caravaggio himself is played by internationally known and popular Italian actor, Riccardo Scarmacio, often a dark and brooding presence, complex, content in the underbelly of Rome, happy with the Regal patronage, especially from the Marquesa Colona, played by Isabelle Huppert  always speaking dialogue in French, contacts with cardinals, unreliable, moody, sexually profligate, but with an innate sense of the Jesus of the Gospels, appreciation of the gospel narratives and a burning desire to re-create them in his art.

The Shadow of the title is played by French actor, Louis Garrel, always convincing in serious roles, less so in light or comic roles, but perfect here in the relentless investigator, ambitious, single-minded, even rigid as regards doctrine and ecclesiastical order, who pursues his investigation, personal interrogations, resorting to water torture, interviewing the prostitutes and vagrants with some disdain, unafraid in challenging the nobility, finally a confrontation with the artist himself. This is a frightening portrait of an ecclesiastical Inquisitor, admiring the works of art, but unhesitatingly condemning the artist for his life.

Set design and costumes and decor are marvellously portrayed to re-create the period, immersing the audience, especially in the low life of Rome. And, so many of Caravaggio’s paintings are brought to life, the finished works as well as the process of choosing the models, set-ups and posing, the artist and his work of painting. And the lighting of the film evokes the chiaroscuro light and darkness of the works at the beginning of the baroque period.

Riccardo Scarmacio plays Caravaggio with all his faults, sins, but with a deep innate sense of admiration for the Gospel stories, evoking audience sympathy for him, no matter what. And, he notes that in his choices of prostitutes as models for portraying Mary, the mother of Jesus, and himself, after his throat is slashed by the vengeful brothers of the man Caravaggio fought in a duel and killed, the right choice for the image of Goliath. And some of the prostitutes themselves, exploited and persecuted, note that being chosen to portray Mary was a highlight of their lives.

Evocative, interesting, taking us back into a complex period of church history, with some interesting sequences featuring Giordano Bruno, burnt at the stake as a heretic, the young artist, Artemisia, and St Philip Neri of the Oratory, seen sympathetically in the midst of the hardships and squalor in which he ministered.

Evocative also in raising all kinds of questions about artists in their times, their moral lives and choices, the relationship of these choices to the quality of their art and achievement.

1. An interesting and provocative visit to Italy and the baroque period? The world of Caravaggio?
2. Audience knowledge of the painter, of the period, of the baroque, painting styles, chiaroscuro, the paint, the canvases, the choice of models, the posing…?
3. Costumes, decor, the period, Rome, the papal court, the church, the underbelly of the slums? Naples and other Italian cities? Atmosphere? The musical score?
4. The structure of the screenplay, moving around in time, end of the 16^th, beginning of the 17^th century? Dates and places? A Mosaic of scenes and sequences, the connections made, the audience making connections, references, and ultimately putting everything together?
5. Riccardo’s Camacho as Caravaggio, a brooding presence, artistic genius, his background with the Contessa, religious background and religious sense, connection with the gospel stories? Poverty, at home in the low life of Rome, the beggars, the poor, the prostitutes, the sexual connections?
6. The central situation for the film, point of reference, the murder? The audience eventually seeing the confrontation, the fight, the death – in the background of Caravaggio’s relationship with the brothers, in the dealings in the underbelly of Rome? Their vengeance on Caravaggio, stabbing his cheek and mouth? (And his deciding that his image was that for Goliath?)
7. The role of the Pope, Rome ecclesiastical and secular, the condemnation of Caravaggio, the possibility for apartment? The Pope, meetings with the Cardinals, Cardinal Del Monte and his support of Caravaggio and his art, the Pope’s nephew and his dealings?
8. The title of the film, the Inquisitor as the Shadow? Louis Goel and his presence, performance? Sinister? Dressed in black? Devotion to the Pope, his understanding of the church, doctrine, rigidity and traditionalism? His mission, the range of his encounters, interrogations, using water torture, violence? His discovery of Caravaggio’s art, the models, questioning, admiration of the art, yet condemning Caravaggio? Eventually meeting him, the setup, Caravaggio travelling, the sea, the attack, death? And the Inquisitor reporting finally on the mission accomplished?
9. The Contessa, speaking French, her husband, her care for the young Caravaggio, the meetings with him, the discussions, her sensuality, sexuality, reputation? With the Inquisitor? With her son, his responsibilities, dealings, Caravaggio?
10. The range of prostitutes, on the streets of Rome, the harshness, the men, sexual violence, exploitation, the young women, some standing their ground, children, pregnancy? Squalor?
11. Caravaggio and the women, his relationships, over the years, their response to him, posing for the portraits, their being condemned for portraying the Virgin Mary? But this being an affirmation of their lives? And the status of the paintings and where they finished?
12. A violent era, a religious era, an era of art and achievement? Especially in Italy, Rome? The range of Caravaggio’s paintings, the film highlighting them, the completed works, works in progress, models posing for them?