The true story of 17-year-old Sicilian Rita Atria (Veronica D'Agostino) -- who broke the Sicilian Mafia's code of silence and testified against the "family business" after both her father ... See full summary »
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The true story of 17-year-old Sicilian Rita Atria (Veronica D'Agostino) -- who broke the Sicilian Mafia's code of silence and testified against the "family business" after both her father and then her brother are both murdered -- is brought to vivid life in Marco Amenta's hard-hitting and wonderfully acted drama. Written by
This mafia revenge story might have been a good film but, a weak script and some horrendous acting render it with the kiss of death. As a child young Rita witnesses her father's cold blooded murder at the hands of a rival mafia clan. Years later in an attempt to bring justice she seeks the assistance of the district prosecutor and is placed in a witness protection program in Rome.
While strolling the Colosseum she feels she is being followed. Moments later she encounters the stranger and shortly after is calmly chatting with him soon they are dating. It is mindless and ridiculous instances like this that completely undermine any credibility in this tale. Her life has been threatened but, somehow it's okay to strike up a budding romance with some guy in Rome.
Much later Rita is placing phone calls home from her Rome apartment not terrific thinking if you value your life and your enemies can easily be tapping the lines. Aside from many flaws within the story the biggest fault with this film was the casting of Veronica D'Agostino in the title role.
Ms. D'Agostino is an acting neophyte and it shows with every over the top glare and pained expression she delivers. In her attempt to appear indignant her face contorts in such odd fashions she looks somewhere between constipated and deranged, or both. She is capable of one note throughout the entire film, anger. In fact you get the feeling that the love interest she encounters in Rome was probably created to develop another more uplifting shade to her on screen demeanor.
A good actress would hold the picture together and elevate the weak material by giving the viewer someone to care about. The Sicilian Girl suffers from wretched acting, poor writing and should be swimming with the fishes and not in your cue.
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