Name: Uomini di parola
Genre: Crime
Duration: 1 h 35 min
Rating: 6
Cast: Leonora Fani, Stefano Bertini, Tano Cimarosa

Tano Cimarosa makes a crime film, but seems to use it as an excuse to mash the paps of the actresses appearing in said film. Strikes me as a bit dodgy, if you ask me.

In Sicily, a man is gunned down outside a church, and it's up to new police chief whathisface to find out who did it. This is Sicily we're talking about, so no one is talking. The police chief is naïve about all this, so his assistant keeps having to spell it all out for him. Suspicion shortly falls onto the local mob boss, and the guy the chief thinks has pulled the trigger is in hospital, pretending to be ill form an ulcer.

Now, I'm going to level with you here and say that the version of this film that I watched seemed to have bits missing from it, but it may also be the only version of the film out there. From what I could gather, the triggerman (played by fifty-eight year old Tano Cimarosa, who also wrote, filmed, produced, built the town the film is set in, and tailored all the clothes the actors wear) has the hots for his step-daughter, played by the always-getting-naked Lionara Fani. Tano has the hots for her and is always sticking his hands down both her and her mother's dresses. You know, the fifty-eight year old director of the film.

Anyway, most of this film concentrates on the aftermath of the guy's murder. Turns out his wife was having an affair with some guy who drops her like a rock for a younger lady, the police chief struggles with the culture of Sicily, and Tano starts throwing his considerable weight about with the Mob Boss and his crippled son. Tano also sniffs his step-daughter's pants at one point just to remind you that you are watching an Italian film after all.

None of this is that interesting to be honest and the whole thing reeks of a vanity project for Tano Cimarosa. The missing bits were probably all the dirty bits that were thrown in there to keep things interesting.

Italian cinema has deeply influenced world cinema through its socially conscious realism and modernist experimentation, but it also flourished in popular genres like peplum (sword & sandal), giallo thrillers, and broad comedies. Its narratives often weave together politics, contemporary social change, class consciousness, and family dynamics, balancing artistic ambition with entertainment that resonated widely.

Lamberto Maggiorani in Bicycle Thieves (1948)

The crime genre features criminal activities, investigations, law enforcement, crimes, and the pursuit of justice. Crime stories often revolve around the planning, execution, and consequences of criminal acts, as well as the efforts to solve and prevent such acts. They explore various aspects of criminal behavior, motives, and the moral dilemmas faced by both perpetrators and those seeking to uphold the law.

James Gandolfini, Edie Falco, Sharon Angela, Max Casella, Dan Grimaldi, Joe Perrino, Donna Pescow, Jamie Lynn Sigler, Tony Sirico, and Michael Drayer in The Sopranos (1999)

Gaetano is ambitious, he wants to show that he has what is required and commits crimes without hesitation. His only weakness is the step-daughter.

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Uomini di parola

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