La siciliana ribelle

This is a movie I would see again and again. The is the kind of film that pays tribute to the true cinematic experience: a perfectly told story with beautiful cinematography that lets us move along with the characters and took the necessary time to let us care about these people. Wonderfully directed, with awesome performances by the actors. While some directors might have chosen more violent scenes in this true account of going up against the mafia, Marco Amenta chose something we don't see too much in films anymore: imagination. This film unfolded rather than assaulted, tantalized rather than terrorized.

Bravo!

Only because more people will have seen "Veronica Guerin," I cite that splendid film as an introduction to "The Sicilian Girl." The themes are similar -- true stories of young women who invite death by exposing murderous activities. In this case, Rita Atrria (Veronica D'Agostino), a 17 year old from a Sicilian village controlled by the Mafia, takes her story, documented by diaries she has been keeping for many years, to an anti-Mafia prosecutor, Paolo Borsellino (Gerard Jugnot) seeking vengeance for the murder of her father and brother, both of whom were themselves members of the Mafia. Rita's diaries confirm incidents which the police have tracked and lead to the arrest of her town's Mafia chieftains, including the ones who had her father and brother killed. To avoid spoiling the story, I will offer no more of the details except to say that Rita's revelations make both her and Borsellino targets for assassination. Ms. D'Agostino and Mr. Jugnot are excellent actors, and a number of other roles are very well done. The movie is exciting and well worth the two hours it takes to watch it. As with any of the movies based on a "true" story, one is left wondering where truth leaves off and fiction takes over. I can guess at the juncture, but for the most part "The Sicilian Girl" is very convincing.

This mafia revenge story might have been a good film but, a weak script and some horrendous acting render it with the kiss of death. As a child young Rita witnesses her father's cold blooded murder at the hands of a rival mafia clan. Years later in an attempt to bring justice she seeks the assistance of the district prosecutor and is placed in a witness protection program in Rome.

While strolling the Colosseum she feels she is being followed. Moments later she encounters the stranger and shortly after is calmly chatting with him soon they are dating. It is mindless and ridiculous instances like this that completely undermine any credibility in this tale. Her life has been threatened but, somehow it's okay to strike up a budding romance with some guy in Rome.

Much later Rita is placing phone calls home from her Rome apartment not terrific thinking if you value your life and your enemies can easily be tapping the lines. Aside from many flaws within the story the biggest fault with this film was the casting of Veronica D'Agostino in the title role.

Ms. D'Agostino is an acting neophyte and it shows with every over the top glare and pained expression she delivers. In her attempt to appear indignant her face contorts in such odd fashions she looks somewhere between constipated and deranged, or both. She is capable of one note throughout the entire film, anger. In fact you get the feeling that the love interest she encounters in Rome was probably created to develop another more uplifting shade to her on screen demeanor.

A good actress would hold the picture together and elevate the weak material by giving the viewer someone to care about. The Sicilian Girl suffers from wretched acting, poor writing and should be swimming with the fishes and not in your cue.

Rita Mancuso's father is beloved Don Michele in Balata, Sicily. He orders the death of Bellafiore who murdered innocent peasants. A prosecutor arrives to confront him but the villagers support the Don rather than the corrupt incompetent police. Six years later, Rita is 17 and the village is awash with drugs. Her brother Carmelo gets killed and Rita brings in her evidence to the prosecutor who actually got her father's respect. She testifies against the Sicilian mob as revenge for her family's murders.

The story is somewhat muddled. Veronica D'Agostino is good as the fierce heroine. She isn't a pretty little thing but she has a nice vulnerability. Gérard Jugnot is also good. The material is there but the intensity is dispersed. The tension comes and goes. This should be a great character study of the Girl but the final ending should not be as confused.

Someone tells you one word: "Sicily". Quick, quick, what do you think? you think of Godfather scenes, of rolling rural landscapes, societies scarred by vendettas and inter-family violence, closeups of old rugged facial lineaments, scenes of emigration on rural lifestyle.

Now, the true Sicily is much different, with modern office buildings, people holding cell phones and having business meetings, and a much more urban society.

For a motion picture financed and produced just a few years ago, and supposedly on a modern story, this production was a disappointment. Totally stereotypical. I mean, Antonioni's "L'Avventura" from forty years earlier looks much more modern.

Obviously, the producers wanted to create a cash cow and sell it to the American audience, still nostalgic of the GF series. Smart movie-goers can easily see through the facade, and not like this production. The producers think that the audience is stupid enough to see their stereotypical work.

If you want to see a motion picture that portrays modern Italy with its crime-ridden background, see Gomorrah.