Second masterpiece for the director from Friuli, following the trail of his splendid debut concerning themes (the desire for redemption of the urban underclass, etc.), but already revealing a greater maturity. And then there’s a sumptuous Anna Magnani, in one of her many stunning performances, along with breathtaking shots, complete with explicit tributes to 15th-century painting (the image of dying Hector was modeled on Mantegna's "Dead Christ"). 9.5.
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