How to Kill a Judge

Perché si uccide un magistrato

Italy

1976

110 Min

Color

1.85:1

Italian

Currently 3.0/5 Stars.
1
2
3
4
5

SCR Damiano Damiani, Enrico Ribulsi

CAST Franco Nero, Françoise Fabian, Pierluigi Aprà, Giancarlo Badessi, Ennio Balbo, Luciano Catenacci, Giorgio Cerioni

The latest success by film-maker Giacomo Solaris is a crime thriller about a judge who gets too friendly with the Mafia and is murdered. A resentful Sicilian magistrate orders the film seized, but then he winds up dead, in a fashion just like that in Solaris’s movie. Solaris realizes that corrupt political forces are pulling strings, for his friends begin to die in grisly ways. Will he learn the truth about the murder of the judge in time? —IMDb

Director

Damiano Damiani

Damiano Damiani (born 23 July 1922) is an Italian screenwriter, film director, actor and writer. He was born in Pasiano di Pordenone, Friuli

Damiani began making short documentaries in the late ‘40s, and was writing and assistant directing features by the mid-’50s. He debuted as a director in 1960 with the prize-winning Il Rossetto (aka Lipstick), and over the decade helmed such offbeat films as the Alberto Moravia adaptation La Noia (aka The Empty Canvas) with Bette Davis, the occult romance La Strega In Amore (aka The Witch), and the violent spaghetti western Quien Sabe? (aka A Bullet for the General).
His contribution to the Italian political cinema, it was very important, with such films as Il Giorno della Civetta (aka The Day of the Owl), Io Ho Paura (aka I Am Afraid), Perchè si uccide un magistrato (aka How To Kill A Judge), L’istruttoria è chiusa: dimentichi! (aka The Case Is Closed, Forget It), and much more…

His later films include the crime drama Confessione… read more

Wall

Displaying 1 wall posts.

see all

Sunrise

10May12

Beneath a filmmaker struggling with guilt over film-inspired murder, Damani has depicts an interesting media-violence relationship. In an inherently violent environment (Sicily), verbalized opinion does not create view points. Traini's laughter at the "film" clarifies that a verbalized opinion may be rude, yet it does not sway perspective of clearheaded judgement: a film's message is not equal to audience thought.