In keeping with one of the movie's subplots, I confess to being a total Cimino fan. I have loved the four films that I have bought on DVD and I believe he is a much underrated director.  I just finished The Sicilian several minutes ago and I, as opposed to the last commentators, loved the film, did not fall to the floor in hysterical laughter and did not think that Cimino wanted to become Scorsese in the worst way. I thought the script was thoughtful and one of the few films to confront the historical political skeleton hanging in every Italian closet--the skeleton of land redistribution and the ghosts that haunt,to this day, the society of old Italy. The people of Bologna and Emilia-Romangna understand this but the Scicilians still rely on the Mafia. Of course, everyone sees in a film that which they are programmed from childhood to see; for me, however, I saw a deeper film than other commentators saw and as a result, I watched a far better film--a film of great substance with the rough beauty of the Scicilian countryside and the Scililian cityscapes bared for all to appreciate. The historicity of Cimino's films produce a memorable panoply of substance, painted on a canvas of great beauty. I loved the actors and I loved all that they did on the screen; I applaud Cimino for his artistic brilliance. I am hugely saddened that there is nothing comparable in today's Hollywood cinema.

I read the novel by Mario Puzo quite a few years ago, but do not remember a thing about it, unlike most other Puzo works that I have consumed. So, maybe the source material was a bit lacking. If I remember correctly, Michael Cimino had already destroyed one studio, and well, I don't know how much was invested in this one, but I hope not too much. Cimino was obviously shooting for the sweeping epic, but ended up hitting soap opera level melodrama. The high points were the scenery, the cinematography, and the score. The low points were the plot and the acting. Christopher Lambert badly needed a charisma injection before trying to play this part. Joss Ackland was adequate as the mafia don, and Terence Stamp as the enigmatic prince, but the rest of the cast, ick. Cannot recommend this one.

It's post-war Sicily. Salvatore Giuliano (Christopher Lambert) and his friend Pisciotta (John Turturro) steal grain for the poor. They are stopped by the police and Salvatore kills one of them. They steal two horses from land gentry Prince Borsa (Terence Stamp) during the escape. Salvatore catches the eye of Borsa's American wife Camilla (Barbara Sukowa). Salvatore takes on the conservative land owners, the church and the mafia to steal for the poor peasants. Mafia Don Masino Croce (Joss Ackland) is willing to use Salvatore at first until he becomes too powerful.

Director Michael Cimino has grand designs. Sometimes his visuals work and sometimes they don't. I admire the attempt. The story is a muddle. There is no flow. The center of the problem is his casting. I don't understand what he's trying to do. Christopher Lambert is more or less French American but he's playing a Sicilian. Barbara Sukowa is German and yet she's playing an American. At least, she gives off a sense of superiority. He is as stiff as a board. He has certain limits as an actor and this movie shows many of them. I find the first act memorable but the movie crumbles as it goes on.