TÍTULO
In the name of the Italian people AÑO 1971
subtitulos
Si (Separados) DUREE
103 min. DIRECTOR Dino Risi
SCRIPT
Agenore Incrocci, Furio Scarpelli
MUSIC PHOTOGRAPHY Rustichelli Carlo Alessandro D'Eva
CAST
Ugo Tognazzi, Vittorio Gassman, Ely Galleani, Yvonne Furneaux, Michele Cimarosa, Renato Baldini, Pietro Tordi , Maria Teresa Albani, Enrico Ameri
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On the one hand a magistrate honest, upright, stubbornly tended to enforce the law everywhere, everyday, making a clean sweep of those who transgress, and in doing so, sometimes, even with a modicum of social controversy, perhaps even a bit ' policy, the other an industrial fashion, come, protected, and use touch the Penal Code, but I also use a cavansi always off the hook thanks to the lawyers to cry and even powerful friendships. The industrialist, one day, there is no real blame, embroiled in the death of a ring of luxury that he was above all served to brighten and sweeten its business partners, would immediately take off from quell'intrico, but faced him, against him, the magistrate who stands now, wrongly suspected of his guilt, but, especially, considering, in general, a real public enemy to be killed, does not give him more rest, the heel haunts him , to finally justice him and everything he represents in his eyes, until when, despite having secured the evidence of his innocence, deliberately ignores: to be able to order, destruction.
A story that takes Dino Risi, based on a screenplay by Age and Scarpelli, however, has tried to dress up even conversational tone, either too sullen or too superficial. Revealing certain contradictions in some moments (the character of the industrialist, for example, originally proposed as "obnoxious" ends, gradually, to become friendly when they become a victim) did not at other times all the evidence necessary for the internal logic of the characters (in fact, the magistrate decided to act unjustly after a sort of ballet-allegory in which his opponent is not presented as a social danger that it should be, but as one of many members, but rough harmless, sporting a crowd on Sundays), succeeding in general, however, to create, effectively, in an interesting clash of characters, drawn, and to each other, gently, patiently, sometimes even with finesse; not too hasty with the analysis of secondary characters and a precise taste, and serious-humorous, environment. Happy, in this sense, the pages, even symbolically, to crumbling of the Roman Palace of Justice and the colorful world of ushers, defendants, witnesses and avvocaticchi that populates it. Of course, from a story in which, once again, promises the serious matter as the crisis of justice, one could expect something more, especially in positions of less contradictory and ambiguous, the film, however, there also where the irony and the only light comedy replace a joy instant commitment, also gives evidence of reliability and stability, can accept it and join, so even the demanding public. The two adversaries, at its core, are Ugo Tognazzi in reserve, nell'asciuttezza in resentment often judge the mood (yes, interior, tormented almost to the trauma, the complex) and Vittorio Gassman in one of his characters from the usual Overtaking on, skilled, Peno, in turn gradually to the euphoric arrogance of all winners costs, in anxieties, in hesitation, in fear of what, by contrast, feels gradually collapse the ground under your feet. Gian Luigi Rondi 
From Time, December 19, 1971
From Time, December 19, 1971 
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