Claudio Bigagli Movies

The insidious emergence of state-sanctioned anti-Semitism in Fascist Italy sets the stage for this historical drama. In 1938, Umberto (Diego Abatantuono) is a tailor who is beginning to lose business to Leone (Sergio Castellito), a haberdasher whose shop is next door to Umberto's. Leone offers stock much like Umberto's and at lower prices, which has brought plenty of customers into his store, causing Umberto no small amount of annoyance. Umberto's ire is hardly soothed by the fact that his teenage son Paolo (Elio Germano) is dating Leone's daughter, Susanna (Gioia Spaziani), or that the two men's younger sons, Pietruccio (Walter Dragonetti) and Lele (Simone Ascani), are best friends. The rivalry between the two shopkeepers eventually leads to a heated public argument, in which Umberto refers to Leone's Jewish faith in a derogatory manner. A policeman overhears this, and Leone, who had previously been quiet about his Jewish heritage, soon finds himself having to deal with the sanctions being levied against Jewish citizens. As Umberto sees his neighbor slowly stripped of his property, his rights, and his dignity, his anger turns to sympathy and to a wish that he could do something to help a man not so different from himself. Concorrenza Sleale was directed by Ettore Scola, who previously examined Italy during Mussolini's rule in Una Giornata Speciale. ~ Mark Deming, Rovi

Much like Alcatraz, Santo Stefano is a fortress-like Mediterranean penitentiary closed by the Italian government in the mid-'60s. The prison, named for the small island where it's located in the Tyrrhenian Sea, provides the setting for the directorial debut of screenwriter Angelo Pasquini. Antonio (Andrea De Rosa), the pre-teen son of prison director Bruno D'Assisi (Claudio Bigagli), attends the prison school although his mother (Laura Morante) is back on the mainland. Antonio becomes friends with Nicola (Claudio Amendola), an inmate who has the trust of director D'Assisi. Campaigning in the Church and press for prison reform, D'Assisi attempts to upgrade the atmosphere in the prison by creating a sense of community and trust. However, escalating right-wing reactions build into a backlash against his methods. After a mainland visit, D'Assisi finds the evil Ardito (Antonio Petrocelli) and a brutal bunch of guards have replaced his more trusted guards. The character of D'Assisi is loosely based on the humane activities of the chief who headed the prison between 1952 and 1960. Shown at the 1997 Venice Film Festival. ~ Bhob Stewart, Rovi

Pier Paolo Pasolini was a beloved Italian filmmaker, poet and novelist whose murder in 1975 threw the whole nation into shock. This drama attempts to document the killing and the aftermath while exploring the true motives for the killing. The film opens as the police are in hot pursuit of a car racing along the waterfront of Ostia. At the end of the chase they end up arresting one Pino Pelosi, a male prostitute who confesses to bludgeoning the director to death and running him over with a car. The initial evidence goes along with Pelosi's story. Intermingled with the drama is actual police and press footage of the murder scene, the trial and other related events. As the court goes to trial, it soon becomes apparent that Pelosi is not telling the whole truth. Despite the findings of the media, the police and the lawyers seem to be in an inordinate hurry to close the case and dismiss it as yet another gay killing. Although the film avoids making elaborate postulations about the whole truth of the killing, it does not deny the fact that Pelosi did not act alone. Unfortunately, though Pelosi was imprisoned for his crime, he refused to reveal the identities of the others involved. ~ Sandra Brennan, Rovi

In Fiorile (US title: Wild Flower), Italy's Taviani brothers once again dissect the manners and mores of the Tuscany region. The story is predicated on a 200-year-old family curse. During the Napoleonic era, Elizabetta "Fiorile" Benedetti (Galatea Ranzi) discovers that her own brother Corado (Claudio Bigagli) is responsible for the crime for which her lover Jean (Michael Vartan) was executed. The embittered Fiorile places a curse on the Benedetti family, declaring that none of her brother's direct descendants will ever achieve true happiness. Over the next two centuries, the Benedettis' ill-gotten wealth increases, but they lose the love and respect of their neighbors. In fact, most people prefer to call the Benedetti family the "Maledettis," or the Cursed Ones. The film's final episode occurs during World War II, as Grandpa Massimo Benedetti (Renato Carpentieri), the last family member directly affected by the curse, relates his tale of woe to a pair of youngsters. Will the curse die with Massimo, or will the innocent young ones be forced to carry it into the next generation? Fiorile is not the sort of movie one sits back and relaxes with, despite its leisurely pace; those willing to work with the film, however, will be amply rewarded. ~ Hal Erickson, Rovi

During World War II, the powerful and influential Italian Communist Party actively supported the anti-fascist resistance. Now the Germans have surrendered, and Hitler and Mussolini are both dead. However, in this story, one group of partisans can't resist the opportunity to complete some of the assassinations they had planned. The new Italian Republic is calling for ex-Nazis to be tried under the new legal system, and the Communist Party is echoing that sentiment. When the die-hard partisans finally pull off the hit, they manage to kill not only the high-ranking Nazi they were aiming at, but two not-so-innocent bystanders, members of the Italian mafia. The civilian authorities are seeking the killers, and the communists are trying to retain the legitimacy they have so precariously attained. They search out one of the gang, now on the run from both the civil authorities and the mafia, and persuade him to turn state's evidence. ~ Clarke Fountain, Rovi

Lupo (Paolo Hendrel) and Edo (Giovanni Guidelli) take to the swamps after robbing a wealthy Italian in this neo-western comedy. They are pursued by the victim's son and three Austrian mercenaries. The duo goes through several memorable adventures as they encounter many offbeat characters in their travels as fugitives. ~ Dan Pavlides, Rovi

The comedic touches in Bianca and its setting at the "Marilyn Monroe High School" whose faculty need the services of the school's clinical psychologist, are at odds with the somber theme of a schizophrenic math teacher and a series of murders. That cinematic split personality leaves the film in limbo. The math teacher Michele (Nanni Moretti, also the director) is clearly neurotic, tries to "straighten out" the lives of his friends whether they like it or not, and is torn between his powerful attraction to the French teacher Bianca (Laura Morante) and his terror of intimacy -- between his need for a normal family life and his neuroses. When people start disappearing at the school, Michele becomes the number one suspect in the police investigation -- not a long stretch given his behavior. ~ Eleanor Mannikka, Rovi

Four different comedy vignettes highlight the particular, idiosyncratic viewpoint of Roberto Benigni, a television comedian who originally wrote these four segments with Giuseppe Bertolucci for home TV. In the first sketch, the year is 5 A.D. and Benigni has to baby-sit for his old girlfriend Mary so she and her husband Joseph can have a night out. As Benigni is giving their child Jesus a bath, he muses philosophically about the nature of God and without a word, the little boy stands up on the bath water and leaves the outlines of his face on the bath towel. In the next segment, Benigni is in a quandary because his guardian angel, disillusioned with their relationship, has fallen in love with God and left him. In the third vignette, Benigni faces all-powerful banking bureaucrats in a bid for a loan to buy a house -- not an easy task because he is bully-proof, which alienates the chief fiscal bully, and the consequences are anything but a friendly loan. In the last sketch, Benigni is a guard at the Tomb of the Unknown Soldier, and his antics (like talking into his sword on phone calls) drive his fellow guard to distraction. As the two verbally joust during the night, they bring up the topic of a certain fellow who knows if God exists or not. The subject of God is almost omnipresent in Benigni's comedic repertoire. ~ Eleanor Mannikka, Rovi