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  • The early Germi films, though they take place in Italy, are mostly pastiches of American genre films. IN THE NAME OF THE LAW (1948) borrows from a host of American westerns about sheriffs who, against all odds and without much help from the townspeople, clean up the town and expose the complicity between a prominent town father and the outlaws. THE WAY OF HOPE (1950) is much like THE GRAPES OF WRATH, depicting the trek of a group of dispossessed workers following an evanescent lead for work in another land. (There's even a scene where they get work on a farm and are called scabs by striking workers, very similar to Ford's film.) THE BRIGAND OF TACCA DI LUPO (1952) is similar to Ford's FORT APACHE: the martinet who insists that men on field campaign for three years adhere to strict protocol, who doesn't know the difference between a good Indian and a bad one, and who insists on leading his men into danger against all the advice of seasoned professionals. FOUR WAYS OUT (1952) is much like THE ASPHALT JUNGLE in plot and tone. All of these films are impeccably made, beautifully photographed and acted, with no false notes, and with neorealist overtones (three were co-written by Fellini). However, they're all a bit slow, a bit too derivative, and they all generate more respect than enthusiasm.

    THE FACTS OF MURDER is something else entirely, It is another genre film, borrowing from many police procedurals, yet here one feels that Germi has finally graduated from respectful pastiches to create a work that is completely successful on its own. The plot, about a robbery in one apartment, and a murder in an apartment across the hall a week later, is so complex that it's hard to follow at times (in some ways it's similar to the complex Chandler novels, and with a similar denouement) but it's richly detailed, with many interesting characters. Germi is a superb actor and his handling of other actors is sure. The interplay between the three detectives is sophisticated and clever, and has the ring of actuality. The pace is fast but not rushed, and the writing and the pictorialization are richly nuanced. Above all, it is a highly entertaining film!

    This is the film where Germi seems to have come into his own as a master filmmaker, where he still has some the neorealist characters and story structure from his earlier period but also has the biting humor and social satire of his later films. It rivals DIVORCE ITALIAN STYLE as his best film, and is a must see.
  • This is really a overlooked masterpiece! Germi made a terrific movie from the difficult Gadda's novel. One of his greatest films, together with "Divorzio all'Italiana" e "Il Ferroviere". The acting, especially Germi's, is perfect, and the rythm he impressed to the movie is unique, a sad ballad with soft humor touches. This movie make me proud to be italian and make me a little less ashamed of the contemporary italian cinema. Take a look at this gem and you'll understand!!
  • Well worth seeing for many reasons: for the complex plot with many connections among those involved in a theft and a seemingly unrelated murder; for a look at Italy in 1959; for the good acting and fast cutting; and for the humor in the script.
  • Un maledetto imbroglio (1959) is a very good movie, it tells us about a country -Italy- still far from the wealth of the sixties, where low class people struggled to make a decent living, and illiteracy was still spread ... Higher class people could threaten poor peoples lives for trivial reasons and meantime humiliate them with their unjustified wealth ... Of course the Germi's task was simplified by the great book it started with, still the Director has his merits: the irony to start with. I basically agree with other opinions. if a catch can be found, I'd say acting is a little bit much too heavy. A kind of "Venus's strabismus"... Some of the actors (Eleonora Rossi Drago, Nino Castelnuovo and at times also Germi himself)overdo - overindulge in - their roles ... They fall into unnecessary theatrical poses. to my opinion the drama is in the facts being narrated and need not much emphasizing by the actors.

    very good by all means, but just a bit overacted, to my modest opinion.

  • Warning: Spoilers
    This movie was poorly translated as "Murder all'italiana", so few people guessed that it was a rendition of Carlo Emilio Gadda's well-known novel QUER PASTICCIACCIO BRUTTO DE VIA MERULANA, read with delight at the beginning of the sixties. It had three major trumps: excellent plot, sophisticated language (mixed with Roman dialect)and long suspense, although the murderer is still unknown and at large when the book ends... For the movie, the double talents of Pietro Germi (director and occasional actor) and Gadda (contributing to the script)were supported by a very solid cast, including Franco Fabrizi, one of Fellini's favorite actor, Claudio Gora, a well known Italian old-timer and two major beauties, Claudia Cardinale and Eleonora Rosssi-Drago. Unfortunately, the TV rendition (thanks God, in original version) was scheduled right after the regional elections in France, at 1 a.m. I thought the event could alter the time, so I allowed 15 extra minutes on my VCR to tape it. To my surprise, it began 15 minutes ahead of schedule, but the book helped me to fill in the gap. There was not much to say on TV after the surprising defeat of the government, so they ran the film well ahead of schedule. A replay would be mandatory, but I know they'll never respond to my complaint. The film is considered a classic in Italy, and the remasterized copy was perfect. Too bad French TV doesn't have any consideration for the early birds like me. harry carasso
  • Warning: Spoilers
    Pietro Germi is one of the great unsung heroes of Italian cinema. Magnetic actor, brilliant writer and masterful director, he created some of the greatest masterpieces ever made in the Peninsula.

    Un Maledetto Imbroglio, an adaptation of Gadda's seminal book, is not among those... but a minor Germi is still intriguing. It's a low-key drama / detective story set in a Roman underbelly brimming with life and chaos.

    Here, Germi writer / director takes a backseat to Germi actor, whose keen, melancholic cop Ingravallo is the most interesting thing about the picture.

  • Pietro Germi doesn't belong to "high class" of the Italian's directors as federico Fellini, Visconti, Rossellini and others, due he was a bad temper, rough and refuses make part of this circle, he was unique, he implied an American style in his pictures, In Maledetto Inbroglio was clearly one of them, the plot is split in two striking cases, a robbery and a murder, just connected by both were took place in next door, Pietro Germi plays a chief of police at task force in charge to investigate both cases, seemingly has some connection linking those weird happenings, two exhaustive hours were spent to find out the murder, despite Germi changes the ending, he imposes a frenetic non stop acting which thrilled the viewer, a hard and complex case to solve, due countless directions that arise at any moment, a fabulous picture, on those quaint Italian environment, with a bit odd humor, a movie to be discovered for the new generation of cinephiles, highly recommended!!!


    First watch: 2019 / How many: 1 / Source: DVD / Rating: 9.25