7.8/10
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7 user 36 critic

Le mani sulla città (1963)

Not Rated | | Drama | 7 November 1963 (France)
Prior to a city council election, the collapse of a building leaves a land developer and his political backers defending themselves against a scandal.

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Writers:

(idea), (idea) | 4 more credits »
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2 wins & 5 nominations. See more awards »
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Cast

Complete credited cast:
...
...
Guido Alberti ...
Maglione
Marcello Cannavale ...
Amico di Nottola
Dante Di Pinto ...
Presidente della Commissione
Alberto Conocchia ...
Amico di Nottola
Carlo Fermariello ...
De Vita
Terenzio Cordova ...
Commissario
Gaetano Grimaldi Filioli ...
Amico di Nottola
Angelo D'Alessandro ...
Balsamo
Vincenzo Metafora ...
Sindaco
Dany París ...
Dany - Amante di Maglione (as Dany Paris)
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Storyline

Prior to a city council election, the collapse of a building leaves a land developer and his political backers defending themselves against a scandal.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

Release Date:

7 November 1963 (France)  »

Also Known As:

As Mãos Sobre a Cidade  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Italian censorship visa # 41137 delivered on 10-9-1963. See more »

Crazy Credits

Western Electric is misspelled ('Elettric'). See more »

Connections

Featured in Girlfriend in a Coma (2012) See more »

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User Reviews

 
Disagree with previous comment
3 December 2006 | by See all my reviews

This film seems an effort to engage the life and destiny of a city at the level of the political and social, using journalistic techniques but always with an awareness that these are also interpretations - something that most USian journalism tends to overlook. What will mostly bother people is that it lacks the usual human center - the man/woman/family to which the bad things happen which will cause us to care that they are happening. This is hardly an oversight; it is a choice, and one that deserves to be considered openly without the rush to judgment that otherwise occurs when confronted with the unfamiliar. The human center of the film is there, but always at the edges, implied. We barely glimpse the victims of the collapsed building, but their fate informs every frame. And the superb "portrayals" by actual members of the city council (the De Vita character, e.g.) give us not actors, but people enmeshed in the actuality. This film deserves wider awareness.


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