The political and philosophical decisions involved in this type of structure also evolved from an ethical decision by Francesco Rosi, who refused to invent or imagine events of which he had no knowledge. Rosi concludes the film with a scene reminiscent of the film’s opening-another man left for dead by an unseen shooter. The final sequence is a flash forward that takes us to 1960 and the assassination of a Mafioso implicated in Giuliano’s death. In the second part of the film, the events at Viterbo-where the pisciotti and their leader, Gaspare Pisciotta, Giuliano’s right-hand man, were put on trial-become the film’s present while allowing the director to clarify other preceding events, such as the betrayal of Giuliano by Pisciotta or the removal of the bandit’s body by the carabinieri. But the surrounding scenes (Palermo in 1945 and the Sicilian separatist movement Giuliano’s partisans, the pisciotti, attacking the armed forces the roundups organized by the military among the inhabitants in the village of Montelepre the massacre of the communists on May 1, 1947, at Portella della Ginestra) are not treated as flashbacks (as in Citizen Kane, for instance) but rather as fragments of a mosaic that bit by bit reveal their meaning. In the first part of the film, Giuliano’s death (the discovery of his body at Castelvetrano in July 1950 the police report the anguish on his mother’s face as she identifies the body on the altar at the morgue) serves as the film’s present tense. Shaking up the chronological order, the director juxtaposes disparate narrative blocks, thus creating a back-and-forth movement in time that sheds light on the causes and effects. Rosi scales back dramatization and achieves the effect of alienation through his unorthodox treatment of the storyline. By using the name of a more or less absent man as the title of his work, Rosi found an immediate way to stress his rejection of character identification and, even more strongly, of the hero worship that generally characterizes the storylines of the biopic. Salvatore Giuliano, the Sicilian bandit whose name was to become the final title of the film, is present only as a corpse in a courtyard in Castelvetrano, or on a slab in a morgue, or even as a figure in a white shirt running up and down the rocky slopes of the Sicilian mountains. Salvatore Giuliano was initially entitled Sicilia 1943-– 1960, a title that reveals the director’s intention to create a portrait of the island, complete with its contradictions and its historical evolution. It is this region that dominates most of the director’s work, from Le mani sulla città ( Hands Over the City, 1963) to Il caso Mattei ( The Mattei Affair, 1972) and Cadaveri eccellenti ( Illustrious Corpses, 1976). Salvatore Giuliano is set in the mezzogiorno, that southern part of Italy (including Sicily) that has been left on its own to struggle with poverty and exploitation. Having mastered his craft, Rosi inaugurated with Salvatore Giuliano a new kind of realism that, while strongly influenced by neorealism, went beyond its immediate model by examining such issues as power and the relationships between the law and lawbreakers, while also shedding light on the causes and consequences that determine the ways in which society functions. Influenced by both Italian neorealism and the American crime-film tradition (from Jules Dassin to Elia Kazan), Rosi had worked as an assistant director with such filmmakers as Luchino Visconti, Michelangelo Antonioni, and Mario Monicelli before striking out on his own as writer and director with two films, La sfida ( The Challenge, 1958) and I magliari (1959), the first situated in Naples and the second among Italian immigrant cloth sellers in Hamburg. His filmography can be viewed as a vast panorama of the historical past of his country, as well as its present.
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Rosi, though able to provoke deeply sensitive reactions from his spectators, always manages to make them think by tracking down and exposing the lies that obscure the inquiries and the scandals of our societies. Eisenstein uses the tools of propaganda, playing chiefly on emotion and a Manichean view of the world. Joseph Goebbels, allegedly an admirer of the Russian director’s films, would have been unable to endorse Rosi’s analytical conclusions.
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If Sergei Eisenstein could be considered the master of political cinema in the first half of the twentieth century, Rosi, in a way his peer, offers a totally different approach to the realities of power. With Salvatore Giuliano (1961), Francesco Rosi developed the style and method that would make him, during the sixties and seventies, the greatest political filmmaker of his time.