Roma, Portuense, 18 February 1988. The groomer Pietro De Negri, said Er Canaro Magliana, kills, after hours and hours of torture, Giancarlo Ricci boxer. I due, friends and accomplices for years, They had concocted long before a robbery, of which he was accused only De Negri, and the strong resentment harbored by the latter against Ricci, led him to make one of the most heinous crimes in Italy. A crime still imprinted in the collective memory today.

And here, thirty years later, are the two films to be inspired by this fact of chronicle. HE, indeed, on one side, Matteo Garrone presented in competition at the 71st edition of the Cannes Film Festival his Dogman (which was won by first time Marcello Source, awarded the Palme d'Or for Best Performance by a Male), Just a few weeks later we see in the schedule an additional product that focuses on, made this time by the master of special effects Sergio boots. We are talking about Anger Furious – Er Canaro, which it differs a lot from work in the form of Garrone, proving, therefore, one of the many, possible variations of the seventh art when you want to put on a certain topic.

Interesting surprise, therefore, this presented to us by Boots, who, thanks to his mastery in the field of special effects and, not least, of its propensity towards the splatter, He has given us a new interpretation of the crime of Canaro entirely subjective, but never predictable. HE, indeed, His previous work were marked (also) for violence and its bloodshed, this his Anger Furious It provides so such moments, but it is also true that relegates them to the last minutes of the film itself, preferring for almost the entire duration of tones from classic thriller. The end result is a rightly called crescendo of tension, muted, however, by the fact that he had pulled a little’ too long all the moments leading up to the highly anticipated climax. A little bad, But. What finally reaches the viewer is the interesting reconstruction – without any sweetening – not only a fact of chronicle, but also – and especially – of a cross-section of today's society. About that, particularly interesting is the setting chosen by the director: with the Mandrione district in the background – that so much is going to remember the location of some of Pier Paolo Pasolini, to which reference is also made – we see a contemporary reinterpretation of the facts. Choice, this, Also due to reasons of budget, but it has been well managed from the start, Finally revealing entirely apt.

If there is, however, something that in the present work boots is particularly noteworthy, is the alternating montage that shows scenes of violence by the boxer combined with moments of quiet working life of Canaro: Similar gestures with use of different instruments blend well with the air notes Largo al Factotum from The Barber of Seville as background music. And it's, therefore, (also) with a copious use of alternate mounting, joined crossfades that show us interesting similarities between Canaro and his four-legged friends (only living beings in which the protagonist feels really similar) Sergio boots that he is amused to leave their signature.

A respectable job, therefore, this Anger Furious, which only provides a slip when a hypothetical Hereafter we are shown where the protagonist and his dog Bea playing carefree on the lawns. Choices, these, always risky, which often end up giving everything a cloying than that – as in this case – ill amalgam to a total of decent work.

Last consideration: se in Dogman Marcello Source has proved a real surprise, in the present Anger Furious, Riccardo de Filippis (in the role of Canaro) Another has done nothing but confirm once again their talent. Another of (quite a few) goodies of this latest work boots.

marina fears