The Assassin

"L'Assassino" was Elio Petri's remarkably assured debut. It's a Kafkaesque story of a man, (Marcello Mastrioanni), under investigation for the murder of his former mistress, (Micheline Presle), The film flits back and forth between the investigation and events in Mastrioanni's past life. It's clear from the outset that what interests Petri isn't so much the prospect of making a thriller but dissecting the protagonist's way of life. This is the Italy of La Dolce Vita or at least the sweet life that was emerging for people like Mastrioanni if they could only keep themselves free of accusations of murder. This is one of his greatest performances but the film itself disappeared soon after its release and is now something of a cult film. Carlo Di Palma was responsible for the superb black and white cinematography.

The Assassin is an ironic tale upon the setbacks of an unscrupulous and arriviste antiquarian, Alfredo (Marcello Mastroianni, Giallo napoletano), whom ambitious projects are thwarted when he is accused of the murder of his former lover and partner Adalgisa (Micheline Presle, I Briganti italiani).

Arrested by the officer Margiotta (Marco Mariani, La Morte risale a ieri sera) and questioned by the commissioner Palumbo (Salvo Randone, Il Criminale), Alfredo is put in jail with two hoodlums (Toni Ucci, Cadavere per signora, and Paolo Panelli, Mia Nonna poliziotto). During the inquiry, he is confronted with the other relatives of the victim, her husband Morello (Andrea Checchi, Caccia all'Uomo), her associate in the construction of a new hostel (Francesco Grandjacquet, Roma citta aperta), her maid Rosa (Giovanna Gagliardo) and her new lover Bruno (Max Cartier, Rocco e i suoi fratelli).

While the police tries to make him confess, charging him notably to have had an anarchist and antifascist grandfather, will Alfredo manage to get out the trap of the circumstances? Will he still be able to marry his girlfriend Nicoletta (Cristina Gajoni, Un Maledetto Imbroglio), the daughter of a rich industrialist? As he is put in the newspapers as an ideal culprit, the film sketches the social satire of an Italy in quest of landmarks. (Viewed in Italian 1h37 version.)

The antiquarian Alfredo Martelli (Marcello Mastroianni) is brought to the precinct without any explanation to be interviewed by the Police Inspector Palumbo (Salvo Randone). During the questioning, Martelli learns that his wealthy mistress Adalgisa De Matteis (Micheline Presle), who is older than he, was stabbed to death and he is the prime suspect of the police officers. While in jail, Martelli recalls moments of his life with Adalgisa and his love affair with the young Nicoletta Nogaro (Micheline Presle). Meanwhile the police proceed with the investigation.

"L'assassino" is a dated thriller by Elio Petri in his debut as director. The storyline slightly recalls Franz Kafka's "The Trial" where a man is arrested for an unspecified motive. Alfredo Martelli is a cynical man and the lack of communication between the characters keeps the atmosphere dark and gloomy. The black and white cinematography on the restored DVD is magnificent. My vote is six.

Title (Brazil): "O Assassino" ("The Assassin")

First film of Elio Petri and it is very well made. Bit confusing at first as we seem to be seeing two Marcello Mastroianni until we realise that we are. Flashbacks are well to the fore in this noir like, Kafka-esque tale of a antique dealer, man about town played by Mastroianni. He has an older than he, lover and benefactor and a younger girl as well although his older lover seems to encourage this. Unfortunately she gets killed, he gets called in and the police reckon they have an open and shut case. Terrible scenes in a bare prison cell where he awaits his fate and he's joined by a couple of guys to keep him company, or rough him up, or incriminate him or something not too good. We are constantly having to try and determine whether this guy is the killer or not and just how wretched a person he is with his healing and dealing and his womanising and cadging of money. Petri engages us throughout and also encourages us to attempt to evaluate goodness and to sample police justice in action.

A slow moving although artistic triumph in most aspects, the cinematography is excellent and the background music is not only appropriate but also essential in establishing the mood and atmosphere of the film. In terms of plot, it is rather interesting as a story of feelings of guilt and police interrogation, yet in seems a little short in plot substance, as at times the material really drags. The melding of flashbacks could also be improved on, as it is hard to distinguish between thoughts, memories and reality. However, the overall experience is excellent and the factors I've mention do not severely affect it, but it is not nearly perfect as a film.