Public Life, Imaginary, and Identity in Contemporary Italian Film
Edited By Giancarlo Lombardi and Christian Uva
Dana Renga - Romanzo criminale as Male Melodrama: ‘It is in reality always too late’
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Still capture from Romanzo criminale, by Michele Placido (Cattleya, Babe Films, Crime Novel Films Limited, Warner Bros Pictures)
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Romanzo criminale as Male Melodrama: ‘It is in reality always too late’1
For the fascination with fallen men continues unabated.
— J. STAIGER, ‘Film Noir as Male Melodrama’, 2008
During the fast-paced title sequence of Michele Placido’s 2005 Romanzo criminale, adapted from Giancarlo De Cataldo’s eponymous novel from 2002, the viewer is introduced to nine of the film’s characters in just over twenty seconds, all of whom belong to the criminal organisation known as the Banda della Magliana which was primarily active in and around Rome from the mid-1970s through the early 1990s. Not a mafia per se, the Banda is said to have conspired with Cosa Nostra, the Camorra, Italian terrorist organisations, and the Italian State, and was allegedly involved in several of the most traumatic events of the anni di piombo, including the kidnapping of Aldo Moro in 1978 and the bombing of the Bologna train station in 1980.2
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