The gangster drama genre (save The Untouchables and the crackin’ Lock, Stock and Two Smoking Barrels) has never been a particular favourite of mine. Ugly men, overflowing with testorone, playing infantile games of power and wealth while talking of honour while they coldbloodedly mow down enemies and treat their women like virgins or whores. So far, so very *yawn*.
Romanzo Criminale (trans. Crime Novel) hardly breaks this mould. However, it pulls off its interpretation of the ganster flick with suitably Italian panache.
It is 1970s Rome and three childhood friends, the Lebanese (Pierfrancesco Favino), Dandy (Claudio Santamaria) and Freddo* (Kim Rossi Stuart) make a pact to rule the city’s underworld. The narrative tracks the fortunes of the three, their cohorts and their love interests, Dandy’s moll Patrizia (Anna Mouglalis) and Freddo’s girlfriend Roberta (Jasmine Trinca) through the decades and the inevitable whirlwind of violence, betrayal, honour, love, sex and loss.
Italian headlines in the 1970s and 80s were dominated by violent attacks by the left-wing terrorist group, the Red Brigade. The tale, loosely based on real events, incorporates two infamous incidents attributed to this group – the 1978 abduction and murder of former Prime Minister Aldo Moro and the 1982 bombing of Bologna railway station (a chillingly familiar scene in this day and age). The polizia, beleaguered by the terrorists, unwittingly leave the city prey to the Lebanese, Freddo, Dandy and their drugs trade. But ever-present on the gang’s trail is Commissioner Scialoja (Stefano Accorsi) whose investigations into their activities reveals a trail which leads right into the heart of the Italian establishment.
Despite the primarily 1970s and 1980s setting – challenging decades fashion-wise – director Michele Placido manages to inject a glamourous sheen to proceedings. Hairy men in brown houndstooth bomber jackets have never looked so stylish. However, this may be down to the charismatic leads, particularly the rather scrumptious Kim Rossi Stuart.
Character development is not particularly subtle; the Lebanese is the boss with an admiration for Alexander and Napoleon, Freddo is his intelligent soulful deputy, Dandy has an eye for fine living while his whore Patrizia yearns for love. Only the morally dubious Commissioner Scialoja is a less than two dimensional character. Nevertheless, the actors are convincing and the fast pace and the rapid plotline changes make the relatively static characterisations inconsequential.
Apart from minor henchmen memorably named Ricotta and Buffala, the plot manages to steer clear of cheesey cliches. However, the soundtrack is afforded no such courtesy. The film goes straight for the fromagey jugular, utilising tunes from the decade such as Queen’s ‘Another One Bites the Dust’ and KC & the Sunshine Band’s ‘Shake Shake Shake’.
Neither genre-busting, nor challenging, it is nevertheless a rollicking and highly enjoyable stylish romp through the Italian underworld.
* (trans. Ice – rather than the chocolate caramel-centred frog)
How to Travel with a Turtle 
I wanted to see this film when I was last in France, as I absolutely adore Anna Mouglalis, I only saw her in ‘Merci pour le Chocolat'(Claude Chabrol 2000) but was amazed by her onscreen charisma.
How is she like in Romanzo Criminale? just a stylish Chanel model looking good for the camera, or a truer than life criminal ?
she is very good onscreen – angry, torn, messed up – but i don’t think the part really called for much – just for her to look like a high class madam, which of course she does to perfection. Not much character nuance going on anywhere really. There’s too much happening in the film and even 150 mins isn’t enough to squeeze it all in.