(Re)throw the monster on the front page

Bologna, 23 May 2024 – They come out two years later with almost different reactions. In 1970 “Investigation of a Citizen Above Suspicion” won the Oscar for best foreign film. Gian Maria Volonté he is the policeman capable of covering up, misleading, who is reflected in front of the mirror in the power he represents to the point of abusing it. One year before the Piazza Fontana massacre. In 1972, however, Volonté – which marks the thirtyth anniversary of his death in December – is a newspaper editor. There is no Elio Petri behind the camera, but Marco Bellocchio. The film “Throw the monster on the front page“ – which is now being proposed again at Cannes in the version restored by Bologna film library – instead had a decidedly more complicated history.

Also in this case the echoes of Piazza Fontana massacre – investigations and first trials – are still strong. The daughter of a university baron dies and “The newspaper“ (that’s exactly her name, two years ahead of when Montanelli’s real “Giornale” will be founded) has no doubts: it was a student who killed her, close to the extra-parliamentary left. Which almost seems – also for a series of other aspects – the portrait of Pietro Valpreda. The music no less disturbing than that of “Indagine” (signed by Morricone) is by Nicola Piovani who a year later will take care of the arrangements and orchestral direction of “Story of an employee” by De André. Inside there are all the 70s, with their conflicts, their contradictions, the processions (in the initial scenes taken from films of the time a young Ignazio La Russa is recognised) and also the bloody events. But above all the concept of public opinion (and how it is formed). Director Volonté – who is called Bizanti – gives a lesson to the young reporter who is called to deal with this case and who has to report the reality. But what is the reality? Bellocchio (of whom there is also a cameo) said that it was a film that didn’t belong to him: he took care of the screenplay with Goffredo Fofi, after the first screenwriter Sergio Donati had left. Volonté’s interpretation – needless to say – is masterful.