IMDb > San Michele aveva un gallo (1972)

San Michele aveva un gallo (1972) More at IMDbPro »

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7.0/10   292 votes »
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Release Date:
18 October 1973 (Italy) See more »
Genre:
Plot:
Sentenced to life imprisonment for illegal activities, Italian International member Giulio Manieri holds... See more » | Add synopsis »
Awards:
1 win & 3 nominations See more »
NewsDesk:
User Reviews:
A study in tragic idealism See more (2 total) »

Cast

  (in credits order)
Giulio Brogi ... Giulio Manieri
Daniele Dublino ... The Prison Guard
Renato Cestiè ... Young Giulio
Vito Cipolla
Virginia Ciuffini ... Virginia
Marcello Di Martire
Vittorio Fanfoni ... Anarchist with beard
Francesco Sanvilli
Giuseppe Scarcella
Renato Scarpa ... Battistrada
Sergio Serafini ... Guelfi
rest of cast listed alphabetically:
Cinzia Bruno
Stefano Guerrieri
Renato Niccolai
Samy Pavel
Lorenzo Piani

Directed by
Paolo Taviani 
Vittorio Taviani 
 
Writing credits
Leo Tolstoy (story "The Divine and the Human")

Paolo Taviani  &
Vittorio Taviani 

Produced by
Giuliani G. De Negri .... producer
 
Original Music by
Benedetto Ghiglia 
 
Cinematography by
Mario Masini 
 
Film Editing by
Roberto Perpignani 
 
Production Design by
Gianni Sbarra 
 
Costume Design by
Lina Nerli Taviani 
 
Camera and Electrical Department
Roberto Aristarco .... assistant camera
Antonio Nardi .... camera operator
Maurizio Zampagni .... assistant camera
 
Other crew
Vincenzo Mosca .... film sales executive
 

Production CompaniesOther Companies

Additional Details

Also Known As:
Runtime:
90 min
Country:
Language:
Color:
Color (Eastmancolor)
Sound Mix:

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8 out of 10 people found the following review useful.
A study in tragic idealism, 27 June 2003
Author: Zmajina from Zagreb

What starts as a light-hearted story, as our hero makes a ludicrous attempt to ignite a revolution, quickly turns into a tragic tale of a basically nice guy who tries to preserve his ideals in inhumane conditions. Although the script is an adaptation of a Tolstoy's short story, it looks more like something Kafka would have written if he had had more sympathy for his characters. The film reminds me of a 19th century caricature by Honore Daumier: a kid breathes on the windowpane of a shop, is caught by a guard, brought to trial, spends his entire life in jail, is released an old man, comes to the same windowpane and defiantly breathes on it, another guard arrives, but the man is already dead. The most beautiful scenes can be found at the end of the film, where the splendid and barren landscape of Venetian marshes is used as the adequate setting for the almost unbearably poignant finale.

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