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Torino criminale blood revenge

I was wandering around aimlessly on Prime and came across this title.  Promising. Very promising. Very tasty.
Unfortunately, it is the second part that for some reason precedes in distribution the first, Torino Criminale Parte 1.
Logically, I should wait for the initial chapter to be released soon, as the project's official social page announces, and then write about both, but in the end I said to myself "why waste time and not talk about this juicy film now?". And, indeed, here I am.

Here we are grappling with an amateur film, born almost by chance, the chronicle says, in a pub and involving, for the most part, the proverbial 'people taken from the streets'. Neorealism is something else. Let's be clear.
I know this will not interest you at all, but I noticed among the actors a person I had the misfortune to meet years ago in a project, so to speak, that ended very, very badly. I remember him well, because even at the time I identified him as an arrogant and bad faith person, but he served as an example for me in creating some characters for monologues and plays.
The good thing is that his character is like that: arrogant and in bad faith. And that makes me laugh a lot. I would also like to tell you who he is, but you know? It's so easy to get a lawsuit nowadays, that I'm getting out of this impasse by changing the subject and telling you that the cast is completed with a few professional but not big-name artists.

However, it has to be said that for a film of this type and with these means, arriving on a platform like Prime is certainly a very good result. I know, you could object by saying that it actually represents a lowering of the level of the streaming offer, but be positive, also because director and screenwriter Leonardo D'Augelli tries to do things right, both behind the camera and in front of a monitor writing the story. I repeat: he tries to do things right. Because it is evident that he lacks the craft, the experience, just as it is evident that he looks with passion at noir and crime stories starting from the latest series released and trying to put a load of humanity into them. He talks about people, young people, trying to make a life for themselves, he puts in unemployment, bullying and of course the underworld. An attempt to make a noir/crime inspired more by Gomorra and with an eye on Mare Fuori, than a genre film inspired by Di Leo or Lenzi, to name a few.

D'Augelli places his camera and cast, for the most part, in the first western belt of Turin, between Grugliasco, Rivoli and Collegno. He intersperses the story with generic images of the city of Turin and detailed shots of the brands of the sponsors who financed the project (and there is nothing wrong with that).

It must be said, however, that the filming locations are only a detail, because his film on Turin's underworld could very well be set anywhere in southern Italy and would certainly appeal to the old leghisti, those who had it in for the 'terroni'. Because all the underworld he talks about is made up of southerners, with marked, sometimes even forced accents. What's more, an almost omnipresent soundtrack often draws from the neo-melodic repertoire and so, yes, Bossi would like this film. And perhaps also Trump who has it in for the Mexicans. Because at one point a sort of clan from Mexico pops up, giving the whole thing a strange flavour of Narcos alla Bagna Caoda.

The underworld battling it out in Turin's capital of Piedmont presents us with a host of characters who talk all the time when they are not killing each other (small note: blood never spills in the face of the blood of the title). I said that they talk a lot and the dialogues go to the point, without preparing the ground, resulting in something contrived and absurd.
Recorded then live, due to obvious technical limitations, they are not always easy to understand and become impossible to understand when there is music underneath. Yes, the ubiquitous music. Already mentioned.
Blood Revenge is of an exaggerated length and carries with it a story that has too many things, too many parallel narrative lines, not all of them very clear. And at some point it tires. Quite a lot.
It has a plot that I could not summarise except by writing another very long post. So I copy and paste the synopsis of Prime.
Turin's most powerful Mafia families meet face to face. Commissioner Tosco investigates his wife's murderer.
 Passion and enterprise are always to be admired, but if D'Augelli ever reads this article I would advise him first to have clear, simple and clean ideas. Because it can be a damn fine line between 'Rome Armed' and 'The Lady'.