Based on a novel by Robert Sheckley, The Tenth Victim represented a marked sea change in Elio Petri’s oeuvre. Gone was the low key, wry approach of his former films: this is a brash, colorful production that exudes extravagance from it’s every pore.
Petri’s next film was The Teacher of Vigevano (Il maestro di Vigevano,63), another intimate, black and white chamber-piece, which plays rather like a retread – albeit an even more pessimistic retread – of I giorni contato.
Petri’s second film was I giorni contati (62), which again featured Salvo Randone. This time he plays Cesare, a plumber and widower who is riding home from work on the bus when it’s discovered that one of the passengers has died.
After making two shorts, Nasce un campione (54) and I sette contadini (59), Petri made his full debut with The Assassin (L’assassino, 61), based on a script co-written with Tonino Guerra (with whom he would later collaborate on several films).
For some reason, Elio Petri is a filmmaker who seems to have slipped off the cultural (and counter-cultural) radar. To the art-house crowd, Italian cinema is composed of the giants – Rossellini, Visconti, Bertolucci, Pasolini – with very little else getting a worthwhile look in.
Just noticed that there’s an interview with Franco Nero on Box Office Magazine. Loads of stuff about Cars 2, but also some more interesting questions as well, which I’ve included below
Despite its wartime setting, Il gobbo deserves consideration in any study of Italian crime cinema. Not only was it directed by Carlo Lizzani, who would go on to become one of the leading lights of the genre as the 1960s progressed, but also – with its outlaw protagonist, breakneck pacing and realistic backdrop – it exerted a huge influence on numerous films to follow.