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They Call Me They Call ( Don’t Be Bad, Be Don’t Volume 22 ( Volume 22. Spring 2021 • on the web 2021 • Spring 22. Volume , Matteo Garrone, 2018), which , Matteo Garrone, Id. ( Non essere cattivo essere Non Lo chiamavano Jeeg Robot Lo chiamavano Dogman Rome, crime, suburb, non-place, contemporary Italian crime, Rome, , Gabriele Mainetti, 2015), Mainetti, Gabriele , ., Stefano Sollima, 2015), ., Stefano Sollima, My contribution seeks to engage with scholarly debates about My contribution seeks to engage with scholarly debates about Id Italian crime narratives, investigating how the case study of the Italian crime narratives, investigating how the case study of the its own individual of “criminal Rome” provides representation contribution to the distinct imagery of contemporary Italian noir. Keywords: cinema. In recent years, the city of Rome continues to be ‘read’ by Italian Rome continues to be ‘read’ years, the city of In recent the setting of crime narratives. cinema as a privileged habitat for Some emblematic examples such Italian are recent films as ( Jeeg dio Caligari, 2015) and offer the opportunity to explore the creative processes behind the over into television crime narratives adaptation of successful cross crime narratives such as adaptations, and trans/cross-mediated that transcend the bor processes stories and creative since they are ders between countries and media. Abstract 2019 he was a member of a SIR research group, studying group, 2019 he was a member of a SIR research Italian film criticism in post-war cultural and popular Assistant been a Research 2017 he has magazines. From Humanities, Social and Cultural at the Department of of Parma. Enterprises (DUSIC) of the University Arts from the University of Parma in 2017. From 2016 to 2016 the University of Parma in 2017. From Arts from received his Ph.D. in History of Visual and Performance of Visual his Ph.D. in History received quarter
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Portrayals of Rome in Third-millennium Crime Genre Genre Crime of Rome in Third-millennium Portrayals Screenwriting “ROMA(nzo) criminale” “ROMA(nzo) Livio Lepratto
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Livio Lepratto Livio Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) franchise, originated by a novel by by a novel by originated franchise, Suburra I will start from discussing the way in which way in discussing the from start I will
, another franchise stemmed from one of De Cat De of one from stemmed franchise another , going to focus on the particular and varied declinations that the and varied declinations going to focus on the particular I will then turn to examine how the topography of Rome is I will then turn to examine how the topography of Rome is In light of the utterly unique features of these representations, I of these representations, In light of the utterly unique features Nevertheless, in parallel to this trend, an equally evident, very an equally in parallel to this trend, Nevertheless, epic downfall of the ‘banda della Magliana’ as well as the emergence epic downfall of the ‘banda della Magliana’ as well as the emergence of the so called ‘mafia capitolina’, which provide the subjects for criminale Romanzo aldo’s novels. The final section will briefly discuss the thematic and Romanthe is, that genre, crime the of excellence par fulcrum poetic located on the city outskirts, areas made up of depressed ‘borgata’, places – or better ‘non-places’, in the sense given to this expression by French anthropologist Augé Marc (1992) – that appear artificial, am crime Italian few recent in a embody to able has been Rome of city films and TV series. exorbitant an as Rome capital official the portray productions these anthill of corruption and immorality where politics, the Church particu is This power. for animalistically fight underworld the and the of case the larly Giancarlo De Cataldo. shown as a space traversed by gangs that unleash their raids against theand the rise that saw this is the context forces: powerless police man criminality have been broadly explored by Italian cinema well explored man criminality have been broadly representa of compelling number a in millennium, third the before accumulated over millennia oftions of “a thousand contradictions growth inexorable the of description The 15). 1983, (Severi history” of the metropolis streets of a vicious underworld in the suburban that several Italian screens on the was actually seen so frequently to classify – proposed scholars – among them Matteo Santandrea in delinquency and corruption the vast body of work focusing on crime movie” (Santandrea Rome in a distinct category: the “Roman 2019, 218). As highlighted elsewhere in this special issue (Re and Coviello and Coviello in this special issue (Re elsewhere As highlighted has been gradu Italian crime screenwriting years 2021), in recent narrative locations in setting its away from ally shifting farther Rome, i.e. of the country, centre productive the symbolic and locations and and peripheral provincial more moving towards urban contexts. capital city as a setting for crime of the Italian reappraisal recent Ro of features the course, Of emerged. also has series TV and films quarter
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Livio Lepratto Livio Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) , alludes to the corruption that flourished in the in flourished that corruption the to alludes , Suburra , a complex transmedia franchise that includes a novel (Car , a complex transmedia franchise Set against this desolate backdrop, the city of Rome plays a star Set against this desolate backdrop, Portrayed as a vast anthill of corruption and perdition, in both in perdition, and corruption anthill of vast a Portrayed as strug power sordid the on focuses film Sollima’s particular, In The title, The in 2011, is made to coincide with the astounding resignation of Pope of is made to coincide with the astounding resignation in 2011, about the film, Benedict XVI, which he announced in 2013. Writing Hannah McGill notes that these two events become the “signals of of moral collapse” (McGill 2016, 89). a country on the verge cause behind the we are apocalyptic disaster as the true ring role witnessing. Sollima’s cinematography makes it appear as a glacial in appearance, so cold and colourless as almost Nordic metropolis, Patricians and plebeians, politicians and criminals, whores and and and criminals, whores Patricians and plebeians, politicians priests: Rome”. the film and the TV series Rome as emerges a city “the where insa voracity of a certain crime, the ferocious of organised tiable greed and the grasping cupidity of politicians, dissolute rotten, type of various eminent constantly leaders cross paths in in the an Vatican 2019, 185). of violence” (Santandrea eternal orgy ugly, of established political and spirit the breakdown gles surrounding occurringgovernment, Berlusconi fourth the of fall the powers: ual edly that of the ‘patrician’ city, the seat of both the national political edly that of the ‘patrician’ city, many where as well as the place and the Catholic Church power financial and economic decisions are taken. This is the setting of Suburra lo Bonini and Giancarlo De Cataldo, 2013), a feature (Stefano Solli 2017 to 2020). seasons from ma, 2015) and a Netflix series (three Rome, thus evoking the quarter of ancient namesake, disreputable the city unchecked through dissolution that continues to spread told by one of the characters in the are As we several millennia later. Netflix series, “This place hasn’t changed for two thousand years. alienating and dehumanizing. Examples are the suburban neigh the suburban Examples are alienating and dehumanizing. fraction coastal a Ostia, of area the and Monaca Bella Tor of borhood the city’ ‘city within of Rome that works as a real of the municipality man’s land’ that the feral mafia. It is in this ‘no tyrannized by a new Pasolinian and very human anti-heroes of Claudio Caligari’s films destiny. their ineluctable drift toward Rome in ‘patrician’ The criminal face of power One of the most frequently represented faces of Rome is undoubt quarter
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Livio Lepratto Livio Suburra – La serie Lo chiamavano Jeeg Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) , Paolo Sorrentino, 2013). , Paolo Sorrentino, , Gabriele Mainetti, 2015), a fantasy film The Great Beauty The Great ( La grande bellezza They Called Me Jeeg ( Not long afterwards Sebastiano’s father commits suicide, jump in foreground the in comes also river Tiber The Then there is the mansion where the young, anxious events-or Both the film and the TV adaptation alsorefer to the corruption The film isreplete with spectacularreferences to Rome’s ecclesi Robot the super and crime the action, straddling subtext, a realistic with Santamaria), It tells the story of Enzo Ceccotti (Claudio genres. hero ing Vittoriooff toing Ponte escape his debts with Anacleti the mafia be a symbol of the Eternal City, river, the Tiber clan. In this way, comes a place of significant dramatic consequence in the plot. night of sex in a hotel room with two escorts, one of whom is under with two escorts, night of sex in a hotel room that same night. of an overdose age and tragically ends up dying ganiser Sebastiano throws a party. The interior also definitely evokes a certain type of Roman society: a bourgeois, affluent, cor debauched society that looks very similar to the type por and rupt birthday sixtieth Gambardella’s Jep at earlier, years two just trayed, bash in The motley menagerie of politicians, social climbers, industrialists, C-list showbiz types, wideboys and escorts is a clear entrepreneurs, film. to Sorrentino’s reference night-time shot of the majestic façade of St. Peter’sSt. of the façade and majestic Basilica, the of shot night-time sweeping catastrophe moral the to image alludes of this choice over, and inexorably compromising not just the Holy See, but the image of the city as a whole. sacred that affects the political institutions. One of the main characters in member ofSollima’s parliament,film Filippo is a Malgradi corrupt in the underworld and is (Pierfrancesco Favino), who is entrenched with a powerful criminal boss, Samurai, sincean old acquaintance tra and morality of corruption The 1970s. the in Lead’ of ‘Years the by Malgradi’s drug-fuelled ditional values is clearly represented to be almost unrecognisable, and the effect is amplified by the inclu the by amplified is effect the and unrecognisable, almost be to unnatural scenes, shot beneath an incessant, sion of many night amount of rain. hispontiff, the see we sequence, opening the in Even power. astical back to the camera, kneeling in prayer before a crucifix, as he con fesses for the first time to his young, trusted private secretary that he intends to resign. From its very first episode, also refers to the ecclesiastical domain. Vatican It opens with a quarter
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Livio Lepratto Livio Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) L’odore della notte L’odore , the rundown Roman suburbs. One borgate The late 1990s saw a resurgence in Italian cinema’s fascination While most of the shooting a locations around lesser-known, are movies, which flourished during the 1970s: taking its cue from both from cue its taking 1970s: the during flourished which movies, gangster movies and the Spaghetti westerns, this sub- American areflected genre country that was thenunrest bloodied by social as an ideal ur emerged Rome, in particular, activity. and terrorist ban setting for developing this category of films. with the blight of Roman crime: a case in point is the second feature by the maverick auteur Claudio Caligari, Marinelli), complete with a fight between the two ‘superheroes’. ‘superheroes’. two the between fight a with complete Marinelli), dis monumental touristic, more the of rooftops and buildings The of tricts Rome return in the final sequence, where Enzo is shown the wearing Colosseum, the of cornice highest the from hanging Jeeg Robot mask made for him by his deceased sweetheart, before flying off to watch over the city at night. Gangs of Rome Romandifferent landscape appearscompletely in a number of A contemporary films centred on the nefarious deeds of criminal gangs. Their characteristic has approach its in roots the peripheral part of the the city, film nevertheless contains frequent Although they are landmarks. to Rome’s most symbolic references almost on the edge ofalways theshown frame,fleetingly, these in Marzio and Castel Campo between the area Colosseum, clude the police chase, and extensively shown during a frantic Santangelo, the Olympic Stadium. This latter site, packed to the brim for the ten most film’s the where location the indeed is derby, Rome-Lazio sion-filled, pivotal sequence takes place. Up and the down the sta its external walkways and even with along dium’s wide staircases, plays out between Enzo and chase in the stands, a hair-raising (the ‘Gipsy’, played by Luca boss known as lo Zingaro crime the a small-time delinquent who makes ends meet by dubious means who makes ends meet by a small-time delinquent the and petty theft in He es he is being chased by the police. having stolen a watch, day, capes by jumping into where he the accidentally Tiber, comes into Further on, he substance in the water. contact with a radioactive finds outhe has gained a which strength, superhuman he puts im mediately to use, first to boost and his later criminal to career, mu tate into an actual superhero. quarter
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L’odore della della L’odore Livio Lepratto Livio , the extraor Romanzo crim Volume 22 Suburra “ROMA(nzo) criminale” “ROMA(nzo) (2002). This book can truly also led to a transmedia fran Romanzo criminale Romanzo criminale , 1998). The film is loosely based on a gritty a on based loosely is film The 1998). , novel (Sacchettoni 1986), which is in turn inspired by a true by 1986), which is in turn inspired novel (Sacchettoni turns the true story of the Magliana gang into a kind of legendof kind a into gang Magliana the of story true turns the portrays Rome’s criminal topography in all of its glory: “From glory: “From criminal topography in all of its portrays Rome’s
The gang depicted in De Cataldo’s plot consists of ‘hungry’, vain ‘hungry’, of consists plot Cataldo’s De in depicted gang The have seen this this representa as Millicent Marcus, such Some, Such a renewed interest in the Roman ‘criminal question’ was in the Roman ‘criminal question’ was interest Such a renewed author’sthe to Thanks gangsterthe of reinterpretation masterful mystery” (Marcus 2008, 394) that Pier Paolo Pasolini had bestowed mystery” (Marcus As in the case of upon the Roman underclass. dinary success of chise in a relatively short frame of After time. a film adaptation di by Michele Placido in 2005, De Cataldo’s novel was further rected adapted in a TV series produced by Sky Cinema and directed by As in De Catal 2010). 2008 to seasons from Stefano Sollima (three do’s book, the film also us presents with a “friendship and coming- (Amici 2010, 77-78), while at 77-78), 2010, the (Amici same time also using the narra and the tu Years Leaden tive to investigate the blood-spattered Italy. post-1968 multuous of political upheavals glorious youths (Selvetella 2007, 104) who are at the same time the working-class of the dehumanising decline of the Roman victims suburbs. It offers a clearrepresentation of the transition froma grasping small-time ‘banditry’ to a business-like system of ‘institu tionalised’ crime. tion as possessing the same “charm, dignity and almost sacred side; impoverished, hapless and irreparably disillusioned on the disillusioned on the irreparably side; impoverished, hapless and 2019, 114-115). other” (Santandrea Giancarlo of publication the with later years few a culminate to De Cataldo’s novel Italian the in interest cultural a reignited having to claim lay to literature system, from the media ‘criminal question’ across cinema and television. storytelling, of noir mythology as well as his renewal inale Scent of the Night verità namely the story, criminal acts of the so-called Clockwork Orange story of Remo Guerra, a working-class upon the Centred gang. criminal, a policeman and a who is both man young notte the grand houses of Collina Fleming to the high-rise blocks of Tor divided, torn by the city is once again shown as raw, pignattara, strait-laced on one and presumably serene wealthy, social unrest: quarter
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Livio Lepratto Livio repeatedly fo repeatedly (2018), which iswhich (2018), Suburra - La serie
. Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) Dogman L’odore della notte L’odore (the ‘dog man’ of the title) (2014-) and Non essere cattivo Non essere The Sopranos er canaro . Romanzo criminale - La serie Suburra Gomorra - La serie If anything, the pair’s petty crimes evoke those carried out by the Engaging in armed robberies and drug dealing, the odd criminal and drug Engaging in armed robberies Another painful representation of the Roman criminal ‘under Another painful representation As for the TV adaptation, criminals trio in the already mentioned criminals trio in the already affluent an in apartment an robs trio the which in scene the example gets out of the car and looks Marcello Roman neighbourhood: almost like a wild animal that the upmarket Roman street around into an unfamiliar habitat. In a similar has been suddenly released vein, Caligari’s next (and last) film, ain who spend their days loitering gang of youngsters cuses on a groomer whose nickname was whose nickname was groomer in his salon in the Magliana neigh murder carried out a ferocious revenge a as city, the of outskirts south-western the on bourhood, Ricci, an ex amateur boxeragainst his former accomplice Giancarlo and small-time hoodlum. meek and in the film –couple onefeatured (the dogman) skinny, –calm, the other (the ex boxer) corpulent, hot-headed and violent belong to a local gang of small-time mobsters which appears very different from the violent and organised crime network that sheds blood in the Rome of based on a gruesome true crime. In 1988, Pietro De Negri, De Negri, a dog crime. In 1988, Pietro true based on a gruesome ian serialiaty, heralding a nouvelle vague of Italian-style action vague of Italian-style action heralding a nouvelle serialiaty, ian American quality television, and crime drama in the wake of the paving the way for The Italian audiences finallywere witnessing a crimeseries featur language, new narrative no-holds-barred sets, gritty, realistic ing of which showed the perspective and stylistic codes, approaches in revived as films mob of tradition the revisited and guys’ ‘bad the American TV series, such as recent world’ is found in Matteo Garrone’s film of-age tale: one that tells a story of people from the masses, instinc the masses, tells a story of people from of-age tale: one that of love in their own way” (Dal yet capable cruelty, tive to the point of straight-talking, Bello blue-col 2009, 81), animated by the romantic, amplified and suburbs Roman the of typical is that temperament lar 1993, 15). (Trifone dialect throughout by the use of Roman that became a so media products date “one of the few […] Italian exporting the national culture” cial phenomenon and a vehicle for Ital of methods the innovating of capable proved It 78). 2015, (Boni quarter
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Livio Lepratto Livio a clearly-de Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) borgate, Romanzo criminale The Magliana gang portayed in the Unlike the film adaptation, the TV series draws attention to the In the specific case of the Roman hinterland, this suburban area city’s outer suburbs in all their bloodless pallor. It shines a light on It shines a light city’s outer suburbs in all their bloodless pallor. describing a construction, by unregulated the devastation produced on the by daunting, stark blights poverty-stricken place smothered con places, incapable of being a marginal landscape: “unresolved, infiniteby only characterised countryside, and city of blend vincing of the same grid-like division of land and the same archi repetitions tectural style” (Clementi and Perego 1983, 36). The various neigh bourhoods on the edge of the city – from Spinaceto Melaina, to Val scapes, crushing hopes and aggravating resentment” (Santandrea (Santandrea resentment” and aggravating hopes crushing scapes, 2019, 144). context, and yet, on closer inspec formed in that exact geographical tion, the Roman suburb is kept strictly off-screen in Placido’s film, theInstead, the dialogues. through evoked is constantly it although a very recognisable wandering around shown are gang members or Trastevere in Maria Santa di Piazza as such landmarks and Rome aestheti and picturesque are that sites many as Steps, Spanish the cally appealing for the camera too. contemporary authors vis-à-vis the Roman contemporary authors vis-à-vis fined thematic as well as poetic location choice that appears to ap the soul” (Raimo 2016). as a condition of a “suburban area proach underwent a delicate phase of chaotic construction, passed off as Tor Basilio, San as such areas Peripheral 1970s. the in ‘regeneration’, Acilia Ostia, and de the Schiavi, Magliana Trullo, neighbourhood “depressing decay, social urban and of many symbols so became administrationsthe by reiterated calculation mistaken a of results living conditions in outly which, hypocritically aiming to improve ing communities, produced the opposite effect byruining land small, seedy bar in the outskirts of Rome, planning yet another rob in the outskirts of Rome, planning small, seedy bar bery: “Come with us, we’ve got a rock solid Atipoff. Parioli pent house, we’re When talking else luxury. would you get a chance to hard mate of mine works at the A those keys? get your hands on a copy”. and made me store ware ‘borgate’ Roman ‘Criminal topographies’ in the The literary and film examples considered so far bear witness to a by various developed and civic interest ongoing narrative clear, quarter
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Livio Lepratto Livio Lo chiamavano social fabric of serpentoni Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) borgatara Lo chiamavano Jeeg Robot Lo chiamavano Jeeg – were instrumentally exploited in the heated political exploited in the heated political instrumentally – were The constant references to the complex The film’sTor main Bella location Monaca; is this undoubtedly Similarly, the metropolis portrayed in the metropolis Similarly, his support in favour of Raggi’s Virginia candidacy for his Mayor, on the “in light of his latest role move was immediately interpreted of a who moves against a backdrop superhero that of a big screen: corrupt capital city controlled by criminals” (Renzi 2016). This in few first the throughout continued film Mainetti’s of use strumental of Raggi’s months office as newly elected Rightfrom mayor. her first day of work, article in the press emphasised her efforts and commitment to improve life conditions in Bella “the Monaca Tor like social housing blocks named R5 and R6. by style, sci-fi in albeit conveyed, – Monaca Bella Tor Jeeg Robot battle that characterised the 2016 Rome local elections (Menarini Claudio Santamaria, expressed 2020). When the film’s lead actor, my father. my This father. place makes me sick; this stink of shit makes me Bella Monaca stands out as the lawless of outer thecircle sick”. Tor Italian capital: something like consisting a of Roman squal ‘Bronx’ id, pitiful building sites and betting to distinc shops, in addition tive, inhospitable landmarks such as the so-called district on the eastern edge of Rome, wedged between Via Casilina district on the eastern edge of Rome, wedged between Via has the city’s orbital motorway, Anulare, and the Grande Raccordo pagesthe crime in up of cropping often had the dubious distinction ‘cookie-cutter’blocks, identical tower of skyline its With 2016). (Raia Enzo, protagonist, the where place the only not is Monaca Bella Tor it is also home to the den of the criminal gang that rules resides; streets desolate the to confined are too they neighbourood: the over the bacchanal and distanced from of this shabby ‘ghetto’, excluded to his refers Zingaro, Lo the gang leader, For example, power. of and we can tell that he hates itown home scornfully as ‘the kennel’, likeplace this in die to want don’t “I confession, wretched his from from Trastevere-Testaccio to Trullo, Centocelle and Tufello – take on – take and Tufello Centocelle to Trullo, Trastevere-Testaccio from and marginal, distinctive characteristics of a and the visual features yet authentic Rome which, puts as it, Mario actually Tronti embod 1983, 10). of the capital (Tronti communal spirit ies the true we see a city that is Here Rome. a postcard-perfect far from very neglected, abandoned in the peripheral, almost unrecognisable: that acts unchallenged. clutches of a violent criminal network quarter
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Livio Lepratto Livio Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) , 2018), the debut feature film by the the by film feature debut the 2018), , Boys Cry ( , the film, and in a sense they drive the plot: the colossal Images of Ostia are scattered throughout the whole duration of throughout scattered Images of Ostia are The Tor The Bella Tor Monaca district was also used as a location for Suburra menthat is repeatedly speculative project construction Waterfront tioned in the film, evokes a true project proposed since 1999 by huge a into coastline Ostia the turn to Portoghesi Paolo architect tourist attraction, almost a version of Although Las never Vegas. put into operation, the support received project a from vast array es of real the prospect attracted from and individuals, of groups prelates and politicians bosses, mafia film, the In speculation. tate dream of glory” (Santandrea 2019, 180). 2019, of glory” (Santandrea dream of poor criminals in Ostia Chronicles Another notable “pole of attraction for mafiasand delinquency” re in contemporary crime (Sabella 2016, 104) which often features and television ports and has attracted considerable attention from film producers inrecent years isA Ostia. coastal town that comes under the municipality of Roma Capitale and a city within a city in of a fero years it has seen the emergence its own right, in recent cious new mafia. these desolate surroundings that two post-Pasolinian characters, characters, post-Pasolinian two that surroundings desolate these their live Carpenzano), Andrea Olivetti, (Matteo Manolo and Mirko drawn are pair The away. fade eventually and up lives short whole to change the course ofto what they see as a unique opportunity it Although organisation. criminal a joining namely, destiny, their such as its coarseness Gomorrah-style features, some does feature the portrayal of squalor on screen, of the realism and the extreme adula the “blind by untarnished these delinquents is nevertheless of urchins street armed the in seen braggadocio childish and tion the tower blocks on the outskirts among Gomorrah […], since here, no utopia, no no criminal mythology, seems to exist of Rome, there district, which was Claudio Santamaria’s neighbourhood in the fa Claudio Santamaria’s neighbourhood district, which was mous film on a troubled Rome. Hence, the working-class suburbs Mayor of Rome on the agenda of the new are collection and refuse (Cerami 2016). real work’s day on the ground” on her first terra dell’abbastanza what through Observed brothers. D’Innocenzo Damiano and Fabio gaze, the district emerge could be described as a post-neorealist the embodiment of neglect. It is in as a desperate ghetto, once more quarter
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Livio Lepratto Livio Amore tossico Amore Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) , 1983), a docu-drama Toxic Love Toxic ( Amore tossico Amore I see this shithole completely transformed. All lit up, cars I see this shithole completely transformed. signs, fireworks, neon coming and going on the sea front, day and night. Skyscrapers every like a non-stop party, and then a gaming halls, slot machines, casinos… where, having fun, clubs, people of restaurants, mile-long stretch Everything rich, eve the hottest babes you can imagine... rything beautiful… Some of the local Ostia landmarks are clearly recognisable, and An example is the scene in which criminal boss Aureliano Ada Aureliano scene in which criminal boss An example is the sequence, the monument to Pier Paolo Pasolini, which stands, sur sym derelict the as fields, uncultivated and scrubland by rounded over the years. suppressed memory that has been gravely bol of a many have suggested that surprisingly, Hardly so owes much to Pasolini’s oeuvre; career) indeed Caligari’s entire much so that one of the film’s most disturbing sequences – that of of the director’sMichela’s death – is set in front monument, at the Pasolini was found dead (Rigola 2020). in Ostia where Idroscalo dicts who were in a sense playing themselves (Stanzione 2016; 33). in a sense playing dicts who were Here Ostia appears as “an abandoned, desolate no-man’s-land” with weeds, trash, used syringes: in littered 2019, 111), (Santandrea short, a place of death through which the film’s characters wander that appears along the slow panoramic shot starting from aimlessly, the opening titles. that is symbolic of the ir heavy with a sense of foreboding all are deiPiazza on jetty the generation: entire an of downfall remediable ice meet, in the memorable the protagonists Ravennati (where cream scene); the steps of the Regina Pacis church and, in the final shot in the reportage style. The cast consisted of former drug ad Ostia is also the location where Claudio Caligari placed the plot of film, feature debut his are all involved to varying extents in the struggle to make the pro to make the extents in the struggle all involved to varying are ject approved. mi, nicknamed Numero 8 (Alessandro Borghi), is seen daydream ing and describing his fantasy to his junky sweetheart, Viola, one rainy night in his hideout on the Ostia coast. As he looks out the window onto the lights along the sea front, his fingers trace these windowpane: wished-for imaginary scenes on the quarter
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Livio Lepratto Livio ragazzi di vita Non essere catti Non essere borgate , Caligari’s third , Caligari’s third aftermath of Pasoli Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) is the setting for a story is the setting for borgata Non essere cattivo Non essere should be considered a “snapshot of the final the of “snapshot a considered be should Nevertheless, floating above this world like an ineluctable pun A remainder of a Pasolinian ethos can nonetheless still be found remainder A This bleak scenario is tellingly portrayed in a key sequence in The new Generation X represented by Cesare and (LucaVittorio These same places return in
problems, turmoil and poverty that afflict the characters still do not do still characters the afflict that poverty and turmoil problems, manage to extinguish the warmth of loving and affectionaterela his tenderly gives tionships. For example, the scene in which Cesare niece Debora a teddy bear as a gift unveils the poignant, delicate bond that exists between the two characters. addiction, crime, sickness and of drug the spectres ishment are himself: none, not even little Debora, or Cesare death. Death spares the beach in Ostia, kicking a ball around to stave off the torment of boredom. The dilapidated, half-abandoned shacks – a favourite re for treat local drug users in mid-nineties Ostia; the emptiness of the order in sun the in basking characters the season; winter the in beach to warm up: all these elements suggest the poverty and neglect ex perienced by the characters. mother and lives with his Cesare in the squalid tower block where his sick niece, as well as in the derelict shack that Cesare and Vivi they end up home and where dream ana choose as their future the In these domestic and family interiors, all moving in together. and collective dispossession. Although the protagonists are still, like are Although the protagonists and collective dispossession. them, as many hustlers or boys before Pasolini’s street end up being tragi and drugs now in the grip of synthetic they are of the suburbs, such as armed cally drawn to the darkest depths pushing. In Caligari’s own words, or drug robbery vo dimension has been lost; ni’s world. […] Nowadays any religious Accattone goes clubbing, he takes and deals in cocaine and today’s pills” (Caligari 2015). friends gathers on wheezing, heroin-addicted of which the group and last film. Once again, the Ostia the again, Once film. last and more, once And in the 1990s. use in drug with the surge that deals inevitable (Raimo 2015), to Pasolini’s legacy seems the reference transformation that in the light of the radical reassessed albeit the of world sub-proletarian archaic, the shook 1970s onwards. Marinelli, Alessandro Borghi) moves through a new type of decay quarter
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Livio Lepratto Livio Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) presents us with a criminal micro us presents Non essere cattivo Non essere Rome is represented as metropolis that is often very remote – in that is often very remote as metropolis Rome is represented aimed at radically changing the audience’s perception of the city of aimed at radically changing the audience’s perception inter the importantly, fabric. No less urban and social and its Rome themultiplied have productions these of many of success national of Rome, transforming the impact of this changing representation perception of what it means to Ro be more Italian specifically, (or, man) in these challenging times. deed, the screen productions we have examined show how, to to we have examined show how, productions deed, the screen spaces […] form the new image […] of quote Paolo Ricci, “Marginal a post and not merely evolving organism, as a constantly Rome (Ricci 2016, 50). card” and physical geographical location – terms of both atmosphere its monumental and its tourist attractions, its classic identity, from the identity that has become es appearance, that is, from baroque an array of glorious imagery in both the national tablished through over that, acknowledge then must We culture. visual global the and the years, Italian cinema has enacted a series of transformations Conclusion Hollywood film noirunlike productions,literary, eachNot ofthe a as city the portray analysed have we examples television and film mysterious, in which the individual dual and place that is “sinister, integration” (Pravadel hope of and gets lost, with no real struggles some a of lines the along portrayed is city capital Italy’s 133). 2007, li these In all of works,what apocalyptic representation. the choice of for crime plots is meant tothe Roman suburbs as an ideal location signs of well as most interesting bring to light the most obvious as In destined for collapse and (self) destruction. humanity, a derelict neither his brotherly bond nor with his Vittorio, new-found love with Viviana can save him. In this unlike way, the other cases we have looked at, Instead, self-aggrandisement. or ambition no nurtures that cosm their by the sole purpose of surviving motivated these criminals are “the characters of Emiliano Morreale, words In the life of hardship. of Caligari’s film do not do move not up become the ladder, career don’t even know what politics is”the kings of Rome, [in fact,] they 2015). (Morreale quarter
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e Livio Lepratto Livio Accessed May https://espresso. An Epic NarrativeEpic An . Volume . Torino: Einaudi. . Torino: 22 “ROMA(nzo) criminale” “ROMA(nzo) Academic Quarter, = . : ‘Ecco il mio supereroe : ‘Ecco il mio supereroe Memoria in noir: un’indagine , July 11, 2016. Accessed May Romanzo criminale , February 6, 2016. , February . Romanzo criminale Huffpost Romanzo criminale Wired La metropoli “spontanea”. Il caso di Roma. Il caso di Roma. “spontanea”. La metropoli Inquieti. I giovani nel cinema italiano del Due cinema italiano nel I giovani . Inquieti. “Anche la mafia è su Facebook.” edited by Monica Jansen and Yasmina Khamal, edited by Monica Jansen Yasmina and Non-lieux: introduction a une anthropologie de la Lo chiamavano Jeeg Robot Series. International Journal of TV Serial Narratives Serial TV of Journal International Series. . Paris: Le Seuil. https://www.wired.it/play/cinema/2016/02/06/ http://www.huffingtonpost.it/2016/07/11/raggi-ri https://doi.org/10.6092/issn.2421-454X/5116 https://doi.org/10.5278/ojs.academicquarter.vi22.6601 di Giancarlo De Cataldo.” In . Cantalupa: Effatà. 3, 2020. 3, dell’abusivismo.” In piano dal fuori e dentro città una di residenziale sviluppo 1981: - 1925 mila di netti, regista che sradica bancomat’.” 2, 2020. jeeg-robot-intervista-mainetti/?refresh_ce fiuti-nomine-olimpiadi_n_10928356.html 29-65. Bari: Dedalo. and the use of peripheral locations in scapes: La porta rossa contemporary Italian TV crime drama.” 60-78. 77-86. Bruxelles: Peter Lang Publishing Group. Peter Lang Publishing 77-86. Bruxelles: surmodernité Ecosystem?” 77–88. Good Films. Italy, cattivo, DVD Special Contents, Non essere sfondo Sullo rifiuti. sull’emergenza all’Ama battaglia dichiara nomine.” nodo l’irrisolto September 26, 2012. Accessed May 6, 2020, September 26, 2012. repubblica.it/attualita/cronaca/2012/09/26/news/anche-la- mafia-e-su-facebook-1.46976 Alcune considerazioni su giorni. giuste pluridisciplinare, De Cataldo, Giancarlo. 2002. Mainetti, Gabriele. 2016. “Intervista,” in Gabriele Niola, ed., “Mai Clementi, Alberto, and Francesco Perego, eds. 1983. “Questioni eds. 1983. “Questioni and Francesco Perego, Alberto, Clementi, land Re. 2021. “Translocal Coviello, Massimiliano, and Valentina Dal Bello, Mario. 2009 Augé, Marc. 1992. Augé, Marc. Boni, Marta. 2015. “Mapping Id.,in cattivo”, essere Non di regia di “Note 2015. Claudio, Caligari, Cerami, Gabriella. 2016. Raggi “Virginia comincia da References Abbate, Lirio. 2012. dei nostri criminale all’ambiguità 2010. “Dall’epopea Amici, Marco. quarter
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La metropoli metropoli La . Napoli: Pi Livio Lepratto Livio Volume 22 “ROMA(nzo) criminale” “ROMA(nzo) , edited by Luca Cian , edited by Fabio Zanel L’apparire dei luoghi, i luoghi dei luoghi, L’apparire , edited by Alberto Clementi and Fran Alberto , edited by È stata Roma. La criminalità capitolina dalÈ stata Roma. La criminalità capitolina . Soveria Mannelli (CZ): Rubbettino. Il sistema dell’impegno nel cinema italiano Il sistema dell’impegno Le notti di “Arancia meccanica” Le notti di “Arancia Aspetti linguistici della marginalità nella peri Aspetti linguistici della marginalità Capitale infetta: si può liberare Roma da mafie e Banditi, criminali e fuorilegge di Roma criminali Banditi, edited by Dom Holdaway and Dalila Missero, and Dalila Missero, edited by Dom Holdaway Il cinema di Claudio Caligari . Perugia: Guerra. . Perugia: Milano: Rizzoli. . Impegno e legittimazione postuma nel sistema cinema postuma nel sistema . Impegno e legittimazione feria romana metropoli campagna città e Tra dell’apparire. 4-13. La periferia. Roma: Officina Edizioni. carelli, “poliziottesco” a Suburra Newton Compton Editori. una di residenziale sviluppo 1925-1981: Roma. di caso Il “spontanea”. piano e fuori dal città dentro 15. Bari: Dedalo. cesco Perego, In nismo’?” lo, 31-38. Piombino: Il Foglio. cattivo tografico italiano.” In contemporaneo, Mimesis. 124-135. Milano-Udine: ronti. corruzione? Trifone, Maurizio. 1993. Trifone, In “Presentazione.” 1983. Mario. Tronti, Santandrea, Matteo. 2019. Santandrea, 2007. Selvetella, Yari. In per governare.” “Conoscere Pierluigi. 1983. Severi, Stanzione, Davide. 2016. “Un’appropriazione indebita del ‘pasoli Rigola, Gabriele. 2020. “Il cinema di Claudio Caligari e 2020. “Il cinema di Claudio Caligari Rigola, Gabriele. 1986. Sacchettoni, Dido. Sabella, Alfonso. 2016. quarter
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