In 35 years of loyal service to the Milan police, Franco Amore has never used his firearm. Scrupulous and benevolent, he was always, in the opinion of his colleagues, a model of virtue. He leads a very ordinary life with his wife, Viviana. But, of course, everything changes during a party that the latter organizes for his retirement. He is called to a crime scene: his colleague Dino has been found dead, but he already knows that.
Filmmaker Andrea Di Stefano multiplies the clichés of the psychological detective thriller, both in terms of form and narrative, in this archetypal story of antiheroes who lead a double life. Chronological deconstruction, time dilation during action scenes, furtive shoulder-mounted camera, contrasting neon lighting, everything is there.
We nevertheless find ourselves embarking on this many times tried, but skillfully renewed proposition, in the unusual setting that is the Lombard capital. The rapid editing and the non-linearity of the narration generate all the suspense that one expects from this type of story. In addition, Andrea Di Stefano’s directorial talents culminate in a long action scene where, 45 minutes into the film, we finally understand how the protagonist’s sidekick died.
Dissatisfied with his meager salary as a police officer, Franco accepted a contract as a driver for the Chinese mafia. He is transporting, with his partner, a couple transporting smuggled diamonds. Suddenly, the group is checked by the police. Dino dies in the altercation, as does the policewoman who arrests them, while Franco escapes with pain and misery. When he is called back to the crime scene, he must feign surprise. The slow motion effects and dramatic music in the sequence do not reinvent the wheel, but are particularly effective.
Movie-loving nostalgia
The soundtrack also contributes to the typically Italian character of the story, between synthesizers reminiscent of Italo disco and more traditional music. The city of Milan is also put in the foreground, from the opening credits, with its long nighttime aerial shots of the metropolis. Shot using a 35mm camera, aboard a helicopter, they demonstrate the director’s remarkable ambition.
Andrea Di Stefano even insisted not to use special effects and to shoot her action scenes outdoors, notably on a real highway. Certainly, this approach gives them a certain realism, despite some lighting tricks – the entire film is also veiled dubious yellowish tints. But beyond film fetishism and cinephile nostalgia, it is not necessarily justified by the story itself.
The director, who has been filming in the United States for several years (Paradise Lost, The Informer), still pays a beautiful tribute to American detective films while celebrating its origins. We have already known more original variations, but what is the point of criticizing it too harshly for following a recipe to the letter when it is so well executed?