It’s becoming more and more apparent to me that there seems to be somewhat of a paradigm shift going on in the crime genre that’s been happening over this past decade. I referred to it recently as a “subversion” to somebody in which we’re experiencing a point in time in crime films where filmmakers themselves seem less interested in telling stories that are loud, overstated, excessively violent crime pictures made not to entertain by the stories in which they choose to depict but are more focused on the psychology component of them instead. The distinction can be made by looking at Martin Scorsese’s “Goodfellas” (1990) or Quentin Tarantino’s “Pulp Fiction” (1995). Both were monumental achievements that undeniably made their mark on cinematic history and often times are the two most recognized films of the crime genre outside of Francis Ford Coppola’s “Godfather” trilogy (1972, 1974, 1990), the first two who many consider to be the greatest crime films of all time. All films that ultimately were immensely successful and instrumental in terms of their influence on just about every movie to come out of the genre since. But within the past 10 years or so, there seems to be a stark contrast to those films within a new crop of international filmmakers coming out of the genre looking to explore new territory within it, without the typical glamour and style of the “post-Goodfellas” era crime film. Films like Paolo Sorrentino’s “Il Divo” (2008), Matteo Garrone’s “Gomorrah” (2008), Jacques Audiard’s “A Prophet” (2009 – still in my opinion, the best crime film made post-2000), and David Michod’s “Animal Kingdom” (2010). All seemed to be exploring new ideas of the genre by focusing on varied components and themes around different types of crime circles. From political ones, to ones that deal with crime as a way of life, to being educated on becoming a crime lord, to the decimation of the crime family, and how crime exists from a business perspective while living in a Capitalist society. These are just some of the themes contained within what I call the “new wave” of crime film. In where the characters and their depicted lifestyles are meant to be more cerebral and looked at as being flawed than the crime films of the days of old (once again excluding “The Godfather” trilogy of course). These characters and the way in which they live aren’t even remotely appealing or alluring, but rather sad and devastating. All of the latter films I mention exemplify this distinction quite well, and when I saw this film advertised and it being quoted as “the best Italian crime film since “Gomorrah””, plus my overall love for the genre, made it an instant “must see” upon its release here in theaters this weekend.
“Black Souls” is the based on a true story account of the real-life mafia clan (known as the “Ndrangehta”) out of Southern Italy, the Carbone family (nope not the Corleone family), who consisted of three brothers – Luigi and Rocco, who are involved in the business of international drug trade, and Luciano, who has escaped the lifestyle in favor of living in a remote mountain town herding goats while trying to raise an honest, hard-working family. Though Luciano has a son, Leo, who is a high school drop out and seems to want to follow in the footsteps of his two crime affiliated uncles, particularly that of Rocco, who the boy clearly seems to idolize. Upon hearing that his family has been defamed by one of their rival families, takes matters into his own hands seeking payback and in doing so sets off a blood feud and a series of tragic events that forces all of the family members to become involved.
This was a riveting, compelling, and brilliant entry into the crime genre by Italian director Francesco Munzi. Who seems to know his influences well but sets out to make something deeper with more of a focus on the tragic-like nature of the crime world and how it affects a family from generation to generation. It really does a great job probing into the minds of the three Carbone brothers, two of whom are totally immersed in the lifestyle and the other who took a much different path and seems to know the real truth and is willing do whatever it takes to save his son from growing up to be a criminal. The relationship between the young boy Leo and his uncle Rocco as is the sibling rivalry that takes place between Rocco’s brother and Leo’s father Luciano is expertly drawn out and feels believable and authentic, and presents the family’s quarrels both within their own and outside of as realistic and utterly devastating. Only three major acts of violence occur throughout the entire film, but similar to how I mentioned in my review of “A Most Violent Year”, when the violence erupts, packed both one hell of a punch and was unpredictable, as well as hitting me on such a deep emotional and guttural level, that at times I was borderline shedding tears. As I was really that invested in the story and so moved by the tragic events that unfold. Which I thought was the film’s greatest strength and a true testament to Munzi’s adapted screenplay and deft hand at directing in how it enabled me to be so invested in the story. From a technical point of view it’s very well done, especially in terms of its cinematography, lighting, and dark contrast between the urban city of Milan and the brighter Italian countryside. But what really did it for me was how the character of the farmer brother Luciano, a man who lives by a strict moral code and value system in trying to make an honest living, and in by knowing of the truth, winds up confronting himself in an ending that left me practically speechless. As far as current, modern day crime films go, this a very solid entry that will most likely will be overlooked but demands to be seen.