WE STILL KILL THE OLD WAY (A CIASCUNO IL SUO)

Italy, 1968, 99 minutes, Colour.
Gian Maria Volonte, Irene Pappas, Gabriele Ferzetti.
Directed by Elio Petri.

We Still Kill the Old Way (To Each His Own would be a more literal translation of the Italian title) is the work of Elio Petri, a significant writer and director in Italy during the 1960s and 1970s. This was an award-winning film and he went on to win the Oscar for best foreign language film of 1971 with An Investigation of a Citizen Above Suspicion. He also won the Golden Palm in Cannes for The Working Class Go To Heaven.

Gian Maria Volonte, who appeared in a number of spaghetti westerns but also in a number of this kind of investigation of Sicilian crime (including An Investigation of a Citizen Above Suspicion and Open Doors), is a professor who starts investigation a killing during a hunting party. Two men die. The official inquiry indicates that it was an honour killing. However, as the professor investigates, Mafia links, corrupt politicians, suspicious church links are uncovered. Irene Pappas is an enigmatic figure as one of the widows.

During the 1960s and 1970s there were many films made like this. Francesco Rosi, Hands Over the City, Excellent Corpses, also made a number of films exploring the political implications of life in southern Italy. Since the Mafia came from Sicily, it means that this kind of film offers interesting background to the American stories of Mafia crime and intrigue.

The film is interesting in its casting, in its presentation of political issues of the 1930s, of the life of Cuba and its government and revolutions.

1. The impact of the title, its meaning the reference to Italy, Sicily and Italian customs? The Mafia overtones to a non-Italian audience? Did the title summarise the film and its themes?

2. The impact of the plot and the themes on an Italian audience, a revelation of corruption, a criticism of traditions and character? Fulfilling the expectations of a non-Italian audience about the Mafia, sexual morality, blood vengeance in Italy? How straightforwardly were these themes presented, what criticism, what stances by the director?

3. The importance of the Sicilian setting, the difference from the mainland and from Rome and government? The camera and the audience entering Palermo by air, the visual presentation of the city, entering into the city, the atmosphere of the locations. the old world and its buildings and customs. the new world of care and modern travel, modern diplomacy and justice? How did the film keep its audience within the atmosphere of Sicily?

4. How did the film show traditional expectations of men and women in their behaviour, way of life, the status of men and women, of marriage, of murder, politics, crimes of passion?

5. Involvement in the initial puzzle, the men at their recreation and their chatter, sexual proofs? The irony of the letters, the setting up of the killing, the focus on Arturo, the real victim being Roscio? The atmosphere of the murders during the hunt and audience response to this?

6. The presentation of the funeral as a revelation of how people thought and felt? The detailed focusing on individuals, their talk, their attitudes, their suspicions about who did the killing?

7. The introduction of the political theme, Doctor Roscio and his letters to Romet the revelation of a criminal? Suspicion of Rosello? The revelation of corruption and moneymaking the manipulation of power? Attitudes of rightist and leftist politics? Secrecy?

8. The introduction of the character of Paolo, his background in the town, his reputation, his leftist attitudes? His interest in the case? His puzzle? His attitude towards Roselle and his defending the accused? The details of his investigation? Audience sympathy with him and wanting him to solve the case? The emotional involvement with Luisa? The importance of his scenes with hie mother? The irony of his being killed and audience response to this?

9. What did Luisa’s father add to the development of the plot and the themes, his revelation of the truth, his attitude towards Paolo? The presentation of the clergy the various people interrogated?

10. The character of Luisa and her relationship with her husband, the mourning widow, her detecting the truth, her leading Paolo on, the passion between them? How credible a character was she? The revelation of her duplicity and seeing her behaviour in this light?

11. The gradual build-up of characters involved in the killing, the detecting of motivations, Paolo and his discovering the truth and his disillusionment?

12. The ugliness and irony of Paolo’s death?

13. The contrast then with Luisa becoming the bride not the mourning widow, Rosello and his victory? People and their attitudes at the wedding? Who knew the truth?

14. The various themes of murder, vengeance, love and hatred truth and lionp public truth and private truth, public lies? The interrelation of murder, sexuality, politics? An accurate picture of a facet of Italian life?