Screening for the BAFF as one of the Natuzzi Competition nominees, the only Italian representative comes from the adaptation of one of Italy’s most groundbreaking books of recent times. The mafia have always been around, repeatedly glorified in Hollywood and beyond (notably Underbelly on Australian TV screens) but this has sparked national debate and anxiety. Seeing the workings of these organisations on screen brings it that much closer to reality for audiences, but Gomorrah doesn’t convey the brutality that it hypes itself up for.

To its credit, the opening scene is explosive with numerous men shot in a tanning salon and appears to set you up for a gruesome war. It’s irritating that the reason for the shootings isn’t explained, nor the reason for the start of the war, no matter how petty it may have been. We are invited into no less than five different stories within the Camorra, Gomorrah’s Neopolitan mafia subject: there’s teen Toto (Salvatore Abruzzese) who wants in with the gang, Don Ciro (Gianfelice Imparato), whose middle standing is compromising, tailor Pasquale (Salvatore Cantalupo) who switches sides to teach Chinese his talents, Franco (Toni Servillo), the manager of a toxic waste company with public concerns on his back and mates Marco and Ciro (Marco Macor and Ciro Petrone) who cause too much trouble for the gang with their thoughtless actions.

If that’s a lot to take in reading, try keeping up when watching it. It doesn’t help with poor casting choices looks-wise, with different characters managing to look the same and getting lost from the big picture, while the stories themselves have almost no connection to each other and it all seems very vague – because there’s so much to take in any real concentration on one story is soon lost. Keeping the stories to a minimum or creating more interest in the characters would’ve improved the film – we aren’t given anything with much of the ensemble and connection is very limited. The only characters really given enough space to think their actions out are Marco and Ciro, whose comic relief is truly genuine and whose scenes are the highlight.

The acting can’t be faulted too much, with Toni Servillo particularly good as Franco, a man whose work with toxic waste is responsible for local illnesses. What’s sad is that the acting isn’t enough to elevate the film. Gomorrah does pick up in the second half slightly as loose ends are tied and blood is more frequently shed. What’s missing is interaction between the characters of the separate stories – ensemble stories need to have a link and director Matteo Garrone, touted as one of Italy’s best modern directors, doesn’t deliver on this. Yes it’s an adaptation, but for filmic purposes it doesn’t suit seeing different occurrences with no apparent purpose. It’s not daring enough for such explosive material – he keeps it fairly simple with the camera work and visuals, but the music does remind us we are watching Italian gangs with its distinct Euro feel.

Verdict:

While Gomorrah doesn’t glamorise the mafia,  not enough is given to keep an interest. The comical young duo are the only interesting part of this film, and everything in between goes in one ear and out the other.

Gomorrah screens apart of the 2009 Bigpond Adelaide Film Festival.

Tickets are still available for a second screening on the 1st March at 4:00 PM. For more information, visit the BAFF website here.

For more reviews and features from the Bigpond Adelaide Film Festival, visit the page devoted to our coverage  here.

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