PIERFRANCESCO Diliberto’s professional name is “Pif”, a boon to reviewers because in this warm story of love amid political turmoil in 1980s Sicily, Pif has credits for directing, writing and playing the adult Arturo whose observations of the confrontation between the Mafia and law enforcement provide the film’s structural framework.
Since primary school, Arturo (played as a child by Alex Bisconti) has been smitten with Alicia (Ginevra Antona as a child and Christiana Capotondi as an adult). Arturo shows a talent for journalism. Alicia’s family moves to Switzerland. Arturo, a somewhat callow young adult, works as straight man in a vox pop TV show. Pif’s screenplay then tosses a few coincidences across Arturo’s path to give the film purpose.
In a time and place where law enforcement is not the safest profession, Arturo reports freelance on the real-life chaos of the federal and provincial governments’ attempts to bring the Mafia to justice, and the Mafia’s equally determined opposition.
The TV footage Pif uses to explain that confrontation works well. Alicia, back in Palermo as a staffer for a leading backroom politico, gives Arturo a month’s exclusives covering the Christian Democrats’ election campaign.
Obnoxious Fofo, who pursued Alicia at school, still hasn’t caught her. Alicia is in no hurry to choose between them.
The film combines concern about bringing the Mafia to book with wondering whether Arturo will discover enough assertiveness to claim Alicia. Predicting the latter is easy. Suburban serenity may be a bit of a disappointment, but it’s a better alternative than violent death.
At Palace Electric
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