On April 30, 1976, Todo Modo was released in theaters, directed by Elio Petri. The subject by Leonardo Sciascia with the screenplay by Elio Petri and Berto Pelosso.
Among interpreters the great Gian Maria Volontè, Marcello Mastroianni, Mariangela Melato, Franco Citti, Renato Salvatori, Ciccio Ingrassia. The photograph is signed by Luigi Kuveiller while the music is by Ennio Morricone.

https://youtu.be/iKhznqDiW7s

“In the last period of my life I made unpleasant films in a society that now asks for pleasantness to everything, even commitment: if the commitment is pleasant, and therefore does not bother anyone, you accept it. Otherwise, no “My films, on the other hand, go beyond the sign of unpleasantness. Why do I make films like that? Obviously it’s because of a clear feeling of having reached the point where it seems to me that all the premises that were there when I was a boy were just frustrated. The company has taken an entirely different direction and in me this could not fail to leave a deep trace. ” Elio Petri, in The adventurous history of Italian cinema by Goffredo Fofi and Franca Faldini, Feltrinelli Editore

 

“Uncomfortable. Sharp. Damn brilliant. An explicit indictment of Christian Democracy,” the process that Pasolini wanted “, in the words of Sciascia (it is Franco Citti who plays the decisive symbolic role), arrived in full” historical compromise “: From the centrist press receives the most pungent hostility; from the parliamentary left, the frost.
Todo Modo withdrew from theaters after a month of programming and, when May 9th 1978 the body of President Aldo Moro appears in the trunk of a red Renault 4 in Via Caetani, his subversive and singularly prophetic position becomes unsustainable.

It is the psychostasy of an entire epoch that still today, surrounded by moral and pseudo-intellectual traitors in an impossible balance on an ideological razor’s edge, reminds us of Marcello’s question: “A very important document that curiously, not so curiously, not has it ever been repurposed? Doesn’t it give you pleasure in repeating these themes? ” (cit. “TODO WAY TO LOOK FOR THE WILL OF WHO?” of Inverso · April 30, 2019 http://www.in-verso.it/todo-modo/)

Citations from:

Marcello Mastroianni. Mi ricordo, sì, io mi ricordo (Anna Maria Tatò, 1996)

 

Elio Petri. Appunti su un autore (Federico Bacci, Stefano Leone, Nicola Guarneri, 2005)

The only possible key to understanding, from my point of view, seemed to me the political one. Sciascia’s book could perhaps lend itself to other interpretations, without a doubt, but at the moment when I decided to make a film of it, I aimed only at one goal, that of damaging the Christian Democrats, with the maximum possible prejudice, if one can to say.
It was at the end of 1974. Since then many things have happened in Italy, including two elections that have taken on, with the help of priests and Americans, millennial values. Bloody massacres have been carried out, tragicomic scandals have broken out, hundreds of attacks have followed, the economic crisis has reached ways that are irreversible, all wrapped in the great fetid cloud emanating from the tumescent body of the great state institutions.
But today, I would still do the film against the Christian Democrats, more than ever convinced that its leaders are the now fully conscious leaders of the current state of degradation in which the Italian political and social life lies. In thirty years they have guaranteed the continuity of the fascist state, the restoration of the worst capitalist models, the return to political methods based on pre-Fascist patronage parasitism, and corruption. In the work of Americanization of the country, imposed with the utmost irrationality, they have thrown the country into a sort of cultural misery that is also a source of cultural desperation, cultural idiocy, cultural impotence. Around them block the parasitic bands of all the social classes, the most involved in the cultural sinking of the Sixties, the sick part of the country.
In this picture, I would not only repeat Todo in the same key chosen then, but I regret having done it, if anything, with some concessions to that “measure”, to that “good taste” that appears to be the distinctive stylistic elements of the present poverty political-cultural: not to have been, therefore, more biased, than to have shown my disgust, common to many Italians, more openly and without complexes. I believe it is right to defend the right of an Italian of my generation to factiousness and contempt, when in thirty years, and with all the possible precautions, it has reached the conviction, of many, that it has once again passed through the Christian Democratic Party there is worse in national characteristics, cunning, opportunism, transformism. It is a right that we have earned over many years of opposition, often weak and ineffective, but certainly severed, against the necrotizing action of the Christian Democrats.
Biased and disgusted have the right to be those who were boys at the fall of fascism, and who witnessed the betrayal of simple and human hopes in a more just society by the bourgeoisie and its majority party (in this, at least, undisputed heir of the Fascist Party): and that they have become men in the midst of the growing stench of corruption in the capitalist human and social fabric.
We all have the right to be boring, nauseated, turned upside down, faced with the certainty that what is done, that is, that the values ​​that made the custom and culture of the Italian popular classes are now irretrievable. For now, on everything and everyone, the petty-bourgeois ideology has won, through corporatism. [Elio Petri, in Scritti di cinema e di vita, edited by Jean A. Gili, Bulzoni, Rome, 2007, pp. 157-158]

What is certain is that Todo, his most directly controversial film, so rancorous and ruthless towards the ruling group in power, the Christian Democrats, did not bear my signature and therefore his extreme positions could only be attributed to him. I shared them, of course, but on that occasion I could not be considered the prompter.
In sequences of great expressive force Gian Maria Volonté, back on the Petri set, played a character similar to Aldo Moro. I would have liked to have written it with him because even on that occasion I shared that rebellion that was screaming in every image of the film. [Ugo Pirro, The cinema of our life, Lindau, Turin 2001]

Rethinking Todo in a way that bears in mind the film by Elio Petri and Leonardo Sciascia’s novel is not difficult. The two ‘texts’, if we can call them that, are profoundly homologous, and I have rarely seen such a correspondence between novel and cinema as in this case.
The film was released two years before the murder of Moro, and was as prophetic as the novel. Literature often understands events, anticipates them and explains them – and this really makes an impression – before they happen. Literature often gives answers to themes that do not yet exist, answers where there is still no question. In the case of this book by Sciascia the question came a little later, in 1978, and Sciascia had already given his answer. The film disappeared forever from circulation because Volonté looked too much like Aldo Moro, and broke a taboo.
[…] Perhaps Petri had read a very interesting essay by Sciascia which was called Brief history of the detective story where he explained that the detective novel, the yellow or the noir are a way to make the world more acceptable, more logical, and even neater. But it is a crossword puzzle, in the end a solution is always found. And the yellow characters are always clear and clear, even when they are beautiful characters. Even when he is Jules Maigret, even when he is Commissioner Montalbano. But Petri changes color to yellow, makes it gray, grainy, elusive. A color without color, a transparent, enveloping and dangerous patina that can be guessed but cannot be demonstrated.
Petri does not give reassuring answers, he has the same replies as Sciascia to power: we cannot think of power except with a mixture of discomfort and disgust.
[…] Elio Petri crossed the territories of common sense in a film that remains on a continuous ridge, on the one hand it is a deeply literary film, on the other visual. And he manages to tell in pictures one of the most literary writers we have had in Italy. [Roberto Cotroneo, Petri e Sciascia: per una lettura di Todo modo, in L’ultima trovata. Trent’anni di cinema senza Elio Petri, a cura di Diego Mondella, Pendragon, Bologna 2012]

Head photographic source: https://auralcrave.com/2018/11/04/todo-modo-il-significato-simbolico-del-film-accusa-di-elio-petri/

Taken from facebook page Indagine Di Una Cittadina Al Di Sopra Di Ogni Sospetto :
https://www.facebook.com/IndagineDiUnaCittadinaAlDiSopraDiOgniSospetto/posts/2158718340916331

https://youtu.be/FI_-y1yu8PI

https://youtu.be/mtC0Nx_HO10

https://youtu.be/kjB44sXrbBA

 

Avatar photo

By Rome Central Redazione

The Rome Central - Italy in the world  editorial staff consists of freelance editors, journalists, photographers, filmmakers, doctors, writers, video-makers, supporters, poets, writers, actors, singers and many friends. RomeCentral is a Magazine completely no-profit , whoever writes in this magazine does his job without any commercial pressure. NB: No people in Rome Central, from managers to employees etc .., receive any type of compensation. The love for the free journalism repays all our efforts.

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Rome Central Mag
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners. View more
Cookies settings
Accept
Decline
Privacy & Cookie policy
Privacy & Cookies policy
Cookie name Active

Privacy Policy

What information do we collect?

We collect information from you when you register on our site or place an order. When ordering or registering on our site, as appropriate, you may be asked to enter your: name, e-mail address or mailing address.

What do we use your information for?

Any of the information we collect from you may be used in one of the following ways: To personalize your experience (your information helps us to better respond to your individual needs) To improve our website (we continually strive to improve our website offerings based on the information and feedback we receive from you) To improve customer service (your information helps us to more effectively respond to your customer service requests and support needs) To process transactions Your information, whether public or private, will not be sold, exchanged, transferred, or given to any other company for any reason whatsoever, without your consent, other than for the express purpose of delivering the purchased product or service requested. To administer a contest, promotion, survey or other site feature To send periodic emails The email address you provide for order processing, will only be used to send you information and updates pertaining to your order.

How do we protect your information?

We implement a variety of security measures to maintain the safety of your personal information when you place an order or enter, submit, or access your personal information. We offer the use of a secure server. All supplied sensitive/credit information is transmitted via Secure Socket Layer (SSL) technology and then encrypted into our Payment gateway providers database only to be accessible by those authorized with special access rights to such systems, and are required to?keep the information confidential. After a transaction, your private information (credit cards, social security numbers, financials, etc.) will not be kept on file for more than 60 days.

Do we use cookies?

Yes (Cookies are small files that a site or its service provider transfers to your computers hard drive through your Web browser (if you allow) that enables the sites or service providers systems to recognize your browser and capture and remember certain information We use cookies to help us remember and process the items in your shopping cart, understand and save your preferences for future visits, keep track of advertisements and compile aggregate data about site traffic and site interaction so that we can offer better site experiences and tools in the future. We may contract with third-party service providers to assist us in better understanding our site visitors. These service providers are not permitted to use the information collected on our behalf except to help us conduct and improve our business. If you prefer, you can choose to have your computer warn you each time a cookie is being sent, or you can choose to turn off all cookies via your browser settings. Like most websites, if you turn your cookies off, some of our services may not function properly. However, you can still place orders by contacting customer service. Google Analytics We use Google Analytics on our sites for anonymous reporting of site usage and for advertising on the site. If you would like to opt-out of Google Analytics monitoring your behaviour on our sites please use this link (https://tools.google.com/dlpage/gaoptout/)

Do we disclose any information to outside parties?

We do not sell, trade, or otherwise transfer to outside parties your personally identifiable information. This does not include trusted third parties who assist us in operating our website, conducting our business, or servicing you, so long as those parties agree to keep this information confidential. We may also release your information when we believe release is appropriate to comply with the law, enforce our site policies, or protect ours or others rights, property, or safety. However, non-personally identifiable visitor information may be provided to other parties for marketing, advertising, or other uses.

Registration

The minimum information we need to register you is your name, email address and a password. We will ask you more questions for different services, including sales promotions. Unless we say otherwise, you have to answer all the registration questions. We may also ask some other, voluntary questions during registration for certain services (for example, professional networks) so we can gain a clearer understanding of who you are. This also allows us to personalise services for you. To assist us in our marketing, in addition to the data that you provide to us if you register, we may also obtain data from trusted third parties to help us understand what you might be interested in. This ‘profiling’ information is produced from a variety of sources, including publicly available data (such as the electoral roll) or from sources such as surveys and polls where you have given your permission for your data to be shared. You can choose not to have such data shared with the Guardian from these sources by logging into your account and changing the settings in the privacy section. After you have registered, and with your permission, we may send you emails we think may interest you. Newsletters may be personalised based on what you have been reading on theguardian.com. At any time you can decide not to receive these emails and will be able to ‘unsubscribe’. Logging in using social networking credentials If you log-in to our sites using a Facebook log-in, you are granting permission to Facebook to share your user details with us. This will include your name, email address, date of birth and location which will then be used to form a Guardian identity. You can also use your picture from Facebook as part of your profile. This will also allow us and Facebook to share your, networks, user ID and any other information you choose to share according to your Facebook account settings. If you remove the Guardian app from your Facebook settings, we will no longer have access to this information. If you log-in to our sites using a Google log-in, you grant permission to Google to share your user details with us. This will include your name, email address, date of birth, sex and location which we will then use to form a Guardian identity. You may use your picture from Google as part of your profile. This also allows us to share your networks, user ID and any other information you choose to share according to your Google account settings. If you remove the Guardian from your Google settings, we will no longer have access to this information. If you log-in to our sites using a twitter log-in, we receive your avatar (the small picture that appears next to your tweets) and twitter username.

Children’s Online Privacy Protection Act Compliance

We are in compliance with the requirements of COPPA (Childrens Online Privacy Protection Act), we do not collect any information from anyone under 13 years of age. Our website, products and services are all directed to people who are at least 13 years old or older.

Updating your personal information

We offer a ‘My details’ page (also known as Dashboard), where you can update your personal information at any time, and change your marketing preferences. You can get to this page from most pages on the site – simply click on the ‘My details’ link at the top of the screen when you are signed in.

Online Privacy Policy Only

This online privacy policy applies only to information collected through our website and not to information collected offline.

Your Consent

By using our site, you consent to our privacy policy.

Changes to our Privacy Policy

If we decide to change our privacy policy, we will post those changes on this page.
Save settings
Cookies settings