Francesco Rosi

Scen.: Suso Cecchi d’Amico, Enzo Provenzale, Francesco Rosi; F.: Gianni Di Venanzo; Op.: Erico Menczer; M.: Mario Serandrei; Scgf.: Franco Mancini; Cost.: Marilù Carteny; Mu.: Roman Vlad; Su.: Ovidio Del Grande, Oscar Di Santo; Ass. R.: Giulio Questi, Nando Cicero, Roberto Pariante; Int.: José Suárez (Vito Polara), Rosanna Schiaffino (Assunta), Nino Vingelli (Gennaro), Decimo Cristiani (Salvatore Ajello), José Jaspe (Raffaele), Tina Castigliano (la madre di Vito), Pasquale Cennamo (Fernando Ajello), Elsa Valentino Ascoli (la madre di Assunta), Ubaldo Granata (Califano), Ezio Vergari (Antonio); Prod.: Franco Cristaldi per Cinecittà, Lux film, Suevia Film S.A., Vides Cinematografica 35mm. D.: 108’. Bn.

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Rosi builds the story of La sfida by moving his camera through the busy streets of Naples and the farmland around it. His sets are the working-class neighbourhoods, such as the Spanish quarter in whose courtyards, balconies and terraces an entire population is forced to live by its wits. He shows the new buildings with their great panoramic windows overlooking the Bay of Naples. He even takes us into pool or “pelota” halls where gamblers try their luck in an atmosphere reminiscent of American detective movies.

Part crime movie, part political statement, part thriller and part sociological dossier, La sfida, stands at the crossroads of numerous influences, in the decadent splendour of a city illuminated by blazing sunlight, pointing its finger at what lies behind the disastrous decisions to cut finances to such an area and choke the energy of those who might otherwise be strong enough to put an end to this financial tyranny.

Jean A. Gili, Francesco Rosi, Études Cinématographiques Vol. 66, 2001


Copy From