Grim, brutal, nightmare. About as far away from any other gangster film you can think of - here is poverty, squalor and desperation. An indictment of Italy and the world, i guess the critics are right when they say this movie is part of the modern neorealism. What a world we live in.
A great film that, to me, was very boring; I wish I could've seen it on a big screen though. It seemed to me more intrested in the rooms the people in it; maybe because, in a sense, they tell us more about them. I don't really see the comparison to the Godfather films since they want to do completely different things. And, in the end, there's no grand thematic irony to doom or redeem these people.
"Gomorra", en su forma, es demasiado cruda, no pulida, bruta. Es entendible que Garrone haya escogido este tono para crear un perfil de Cinéma Vérité; desde ese punto de vista está ejecutado a la perfección. Sus historias son interesantes, pero no resultan entretenidas; son difíciles de seguir debido a que su desarrollo es de lo más inconexo. Tanta dispersión obstruye el entendimiento y la empatía del espectador.
A dive into the under-world of Camorah (Naples' mafia). No melodramas here - just roughness, corruption, vanity and realism - the film follows a documentarean-style and is based upon Saviano's (Italian writer and Naples native) seminal research on the subject. This movie is a truly evocative diamond.
Unlike Traffic, it never dilutes its examination of crime into melodramatic sentiment, or turns 'realism' into tacky set pieces, like City of God. However, the 5 non-connecting stories are exhausting, and its details are non-existent due to their cutting that makes the emotion and story clinical and emotionally distant.