3 March 2019 | Bezenby
Il Gobbo - origins
Way back before Tomas Milian stuck it to the man in Umberto Lenzi's Brothers Till We Die, another hunchback criminal was not only a pain in the Roman police forces arse, but also stuck it to the Nazis at the same time. This hunchback is working for the partisans, but he's really out for himself.
The Nazis, being Nazis, just arrest anyone who is a hunchback at all, but THE Hunchback hates that, and takes it upon himself to waste the German invaders and release the prisoners. He's also got beef with the Chief of the Militia, and while the Chief hunts the Hunchback, the Hunchback forces himself on the Chief's daughter, starting a pretty complicated relationship.
While stealing munitions from a Nazi camp in a very well-constructed action scene, the Hunchback takes a slug to the leg and with the help of a kid, heads to the only place he figures the Germans won't look - the house of the Militia Chief. There, the daughter reluctantly takes care of him, and seemingly forgives him, because they fall in love and she falls pregnant. The Hunchback however proves to be a bit unreliable - the Chief uses the Hunchback's scarf to make him out to be a Nazi collaborator, and the Hunchback guns him down in revenge.
Eventually the Hunchback does get caught, but does he turn in his mates for freedom, and how will he react to the news that the daughter has had an abortion? This all happens in the first forty-five minutes of the film, by the way.
The second half of the film takes place after the Allied Forces have run the Germans out of Rome, and how most of the characters that have survived this far into the film are coping with life - the daughter, being the daughter of a Nazi collaborator, is forced into prostitution while the Hunchback doesn't want to give up a life of crime, but may still try to find a way to save his soul...
After sitting through some meandering Carlo Lazzani films (San Babilo-8PM, for example) I'm surprised by how fast-paced this one is, and how violent it is for a film from nineteen-sixty. The Hunchback is a character who wouldn't be amiss in a mid-seventies Umberto Lenzi or Fernando De Leo film, a messed up orphan who grew up learning violence is the answer to everything, and yet he's not a totally evil character. His on/off relationship with whatever her name was is complicated and not entirely his fault, as both are victims of circumstance in a war that's been forced upon them.
The action scenes are filmed immaculately in this one. Modern films could learn that jackhammer editing and overloud music isn't the way to go - sometimes less is more. Look out for notorious director Pier Paolo Pasolini, a man who died in Giallo-like circumstances in real life.