There seem to be fewer and fewer proper gangster films in contemporary Hollywood. Consequently, those who wish to seek new classics of that particular genre must look elsewhere. One such, seemingly unexpected, candidate for a new gangster film classic is Suburra, the 2015 Italian film directed by Stefano Sollima. Based on the novel by Carlo Bonini and Giancarlo De Cataldo, its title is inspired by the eponymous neighbourhood of ancient Rome, infamous as a den of poverty, prostitution, and crime. While the inspiration for the title might be ancient, the events that inspired the actual plot are quite contemporary – the downfall of two of the most powerful men in modern-day Rome.
The plot begins in November 2011, as an unnamed Pope (who resembles the real-life Benedict XVI) is making the decision to abdicate (which he would ultimately do in 2013), just as the government of an unnamed and unseen prime minister (who could readily be the real-life Silvio Berlusconi) is about to lose its majority in the Italian Parliament. Among the members of Parliament is Filippo Malgradi (played by Pierfrancesco Favino), who seems more preoccupied with a law that would allow the transformation of the Roman port of Ostia into a luxurious Vegas-style resort. The project would benefit his sponsors and associates, among them Samurai (played by Claudio Amendola), a former right-wing terrorist whose modest petrol station is merely a front for the headquarters of a well-connected and politically protected criminal empire. One night, Malgradi allows himself to engage in some drug-fuelled sex with an underage prostitute, leading to a tragic accident and setting off a series of apocalyptic events involving various factions of Roman organised crime, the political establishment, and the Catholic Church.
Stefano Sollima, son of Sergio Sollima – a director best known for gritty 1970s crime thrillers – has already created a reputation of his own by dabbling in the same genre, both in film and television, including hit series like Romanzo Criminale and Gomorrah, the latter inspired by an eponymous film. Suburra in many ways reflects the dark and depressive mood of 1970s Italy, during the infamous “Years of Lead”, when Italians were confronted with the reality of the lines between organised crime, terrorism, politics, and big business being completely and sometimes violently blurred.
Sollima, however, adds a refreshing sense of style and great narrative skill to his film. The script very efficiently introduces a set of different characters – from the very top to the bottom of Roman society – and the plot lets them connect and interact over the course of a few days in a convincing and realistic manner. Sollima is helped in his efforts by the excellent cinematography of Paolo Carnera and a very effective soundtrack by the French electronic music band M83, creating a unique atmosphere which is noirish and attractive at the same time. Sollima’s skills are even more evident when he switches between styles, sometimes creating a stark and effective contrast between scenes of decadent beauty (like the orgy at the beginning) and those that feature uncompromisingly brutal and hyper-realistic violence (like the almost semi-documentary gunfight at the shopping centre).
Suburra is also aided by a diverse and talented cast, which includes some international stars like Favino and Jean-Hugues Anglade (in a brief role as a corrupt French cardinal), and some lesser-known actors (such as Elio Germano in the role of a pimp, Giulia Gorietti as a prostitute, and Alessandro Borghi as the brutal head of the Ostia gangsters). The plot mostly avoids clichés, at least until the very end, which might seem a little bit too Hollywood-like or convenient, but it also brings some surprise by allowing the seemingly weakest or most pathetic characters to have the last word. While it is too early to tell whether Suburra will become one of the top gangster films of the 2010s, its success is undisputed and can also be seen in the Netflix-produced prequel television series Suburra: Blood on Rome.
RATING: 8/10 (+++)
(Note: The text in the original version is available here.)
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