
Abuso di potere
类型:剧情,犯罪
导演:卡米洛·巴佐尼
主演:弗雷德里克·斯坦福德 ,玛丽卢·托洛,佛朗哥·法布里齐
日期:未知
语言:意大利语
地区:法国,意大利,西德 / 102分钟
海外:意大利,法国,西班牙,西班牙
又名: / Shadows Unseen
猫眼ID:513313 🎫 买电影票就上猫眼
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丨Abuso di potere剧情介绍
本片由卡米洛·巴佐尼导演弗雷德里克·斯坦福德 ,玛丽卢·托洛,佛朗哥·法布里齐主演,于未知法国,意大利,西德上映!
On one night, a journalist named Enrico Galiardin was attacked and killed by not a few people. And then, Inspector Luca Micheli begins to investigate, and somehow finds a suspect named Delogo. But, though the suspect himself confesses that he murdered Galiardin, Micheli doesn't and can't believe he did by himself. So he keeps investigating under the troublesome circumstances that both some crime organisation and the police itself force him closing the case with the only one suspect... Some apparently informative literatures seem to innocently presuppose this Italian film is a Giallo (and, strangely enough, their treatments seem to be all too brief), I don't and can't think so. On the contrary, I think this is nothing but a political drama with an unusually serious police officer, which excludes so-called Giallish elements. And, though this film betrays me exclusively because it is not a Gallio at all, I believe this is a simply great film. Concretely, the strength of this film lies mainly in two and independent powerfulness; its passionately and almost fanatically serious leading character, Inspector Luca Micheli, whom Frederick Stafford superbly plays, (indeed, this male character is too serious to be realistic and therefore has not only unacceptably official but also tragically marital/familial dysfunctions, and at the same time he is so powerful that does not perform a series of actions one after another but at one stoke brings about a series of events one after another), and Riz Ortolani's highly impressive music (his music is, of course, not event(s) and therefore do not straightforwardly enter into the casual relations, but is so powerful that can bring about event(s).) And furthermore, the director, Camillo Bazzaoni, has trustworthy talent for making each scene impressive. Especially, I am unexpectedly and almost astonishedly impressed by the aesthetic violentness of the last scene, which is adequately heightened and enriched by Ortolani's music. In conclusion, I can say this film is a great one which is recommendable to the general Italian-film-lovers.
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