This is a masterpiece of Italian cinema. Francesco Rosi not only captures the essence of the man Salvatore Giuliano but also the country he inhabited and fought for and the politics that muddle it. With exceptional cinematography this historical epic evokes Citizen Kane in its tone and predicts the Battle of Algiers. Whether you know the history or not, you can't deny the mastery of the filmmaking.
Firstly, there's Sicily with its rocks, its heat, its poverty and its white villages. Then, there are Sicilians, women in black, shepherds dressed in rags, opportunistic Mafia Dons and corrupted police officials. At last, there's Salvatore Giuliano. He's the main character of the film but we only see him dead. A brilliant idea. Masterpiece.
Combining with admirable astuteness politics, epistemology (the construction of truth) and sociology (of the Sicilian stratification), Rosi's neorealist motifs are transferred to a formal language of stasis (an influence on Angelopoulos) with a circular narrative of regress: the initial frame of Giuliano is now occupied by the mafioso. With a stunning Pasolinian mourning scene, it's a monumental film about truth.
Interesting neo-realistic, quasi-documentary film with notable editing. But did it deserve the Best Director award at Berlin over Bergman's "Through a glass darkly"? The Swedish film was markedly superior. Scorsese likes it because he can identify with the Italian politics and sociology of that time. The Rosi film is good but overrated.
La muerte de Salvatore Giuliano como excusa para realizar una radiografía social. La Silicia a mediados de los 40 como espacio en conflicto. La mafia, la policía y los militares como agrupaciones reconociéndose en un medio traidor y oportunista. Hay una reflexión sobre la impunidad de los lugareños, víctimas de las cacerías a los bandoleros, quienes empezaron como políticos radicales y terminaron como delincuentes.