"What has happened to our calm and peaceful city? The sun is shining but there is darkness in the streets...Darkness of crime and lack of respect to life!" we hear at the beginning of the episode from courageous Don Manfredi, a bigger than life embodiment of conscience. A lot of people are present, a lot of people seem to listen but a few seem to prove any acts of awakening conscience. Indeed, nothing can bring young Leo back to life so terribly murdered in a cafe...
Corrado Cattani begins his first investigation in the matter of Marineo's death and some light is shed upon some events. His companion now is Vice Commissar Altero (great Renato Mori) whom he undeniably trusts more and more. It is interesting how his involvement in the matter is depicted and his meetings with Titti (Barbara de Rossi) more and more sensible. As a drug addict, she does not seem to be reliable at first and, maybe, pretty awkward for him but as the feelings grow, it seems that they make an interesting couple in some clubs for the richest. To provoke, to leave something untold. At least, a couple on the mouths of many...
Meanwhile, the character that emerges here and will be with us for some episodes to come is Sante Cirinna (Angelo Infanti) What a name of a man whose wretched manners and ways to get into the rich and aristocratic world of Pecci Scialoia become landmarks of his corrupted nature. He embodies the core evil of drug business, so far on the local scale... Yes, he is the one that supplies the young countess with drugs and the one responsible for the crime in their palace. An interesting scene as Titti opens herself more to Commissario. Does she begin to trust him? Does she begin to see some help in him? It is a lovely game of senses and reason, some inner drives and natural predictable reactions. At the restaurant, she seems to be appalled by what he says but later... No doubt Cirinna is an appalling character, a drug dealer who deserves some severe treatment. The major 'villain' but a mere puppet in the first season, indeed.
It is all nicely contrasted to Corrado's private life, mainly his wife and the daughter, Paola. His wife is an altogether difficult person, difficult to understand: someone who has a talent, she paints, she has an artistic soul and yet someone who easily destroys. In the symbolic moment when she cuts her canvas she has just painted a picture on resembles her approach to living with the commissar. Paola seems to be a sort of bridge between them, the one that they state is the third person between the two. She suspects Corrado betrays her with the countess and goes to the infamous Nanni Santamaria, the owner of the local television, a man of charm, yet no rules. And, paradoxically, he is the priest's brother...
Some of the best scenes of the episode include Don Manfredi's acts of mercy helping the drug addicts, including Titti, Corrado-Titti moments, the club scene. Consider the camerawork in that scene: when they enter, they are in the focus but what we already see in the background is the group of those richest people, including 'Ms lack of evidence' Olga Camastra, avvocado Terrasini, banker Ravanusa - yes, those who are constantly there, constantly present, as if, constantly behind it all: calm, reserved, ironic, determined and deadly ambitious. Nevertheless, most of it depends on them.
Corrado's more open attitude leads to quite an unexpectable ending of the episode. Will he take justice in his own hands?
Corrado Cattani begins his first investigation in the matter of Marineo's death and some light is shed upon some events. His companion now is Vice Commissar Altero (great Renato Mori) whom he undeniably trusts more and more. It is interesting how his involvement in the matter is depicted and his meetings with Titti (Barbara de Rossi) more and more sensible. As a drug addict, she does not seem to be reliable at first and, maybe, pretty awkward for him but as the feelings grow, it seems that they make an interesting couple in some clubs for the richest. To provoke, to leave something untold. At least, a couple on the mouths of many...
Meanwhile, the character that emerges here and will be with us for some episodes to come is Sante Cirinna (Angelo Infanti) What a name of a man whose wretched manners and ways to get into the rich and aristocratic world of Pecci Scialoia become landmarks of his corrupted nature. He embodies the core evil of drug business, so far on the local scale... Yes, he is the one that supplies the young countess with drugs and the one responsible for the crime in their palace. An interesting scene as Titti opens herself more to Commissario. Does she begin to trust him? Does she begin to see some help in him? It is a lovely game of senses and reason, some inner drives and natural predictable reactions. At the restaurant, she seems to be appalled by what he says but later... No doubt Cirinna is an appalling character, a drug dealer who deserves some severe treatment. The major 'villain' but a mere puppet in the first season, indeed.
It is all nicely contrasted to Corrado's private life, mainly his wife and the daughter, Paola. His wife is an altogether difficult person, difficult to understand: someone who has a talent, she paints, she has an artistic soul and yet someone who easily destroys. In the symbolic moment when she cuts her canvas she has just painted a picture on resembles her approach to living with the commissar. Paola seems to be a sort of bridge between them, the one that they state is the third person between the two. She suspects Corrado betrays her with the countess and goes to the infamous Nanni Santamaria, the owner of the local television, a man of charm, yet no rules. And, paradoxically, he is the priest's brother...
Some of the best scenes of the episode include Don Manfredi's acts of mercy helping the drug addicts, including Titti, Corrado-Titti moments, the club scene. Consider the camerawork in that scene: when they enter, they are in the focus but what we already see in the background is the group of those richest people, including 'Ms lack of evidence' Olga Camastra, avvocado Terrasini, banker Ravanusa - yes, those who are constantly there, constantly present, as if, constantly behind it all: calm, reserved, ironic, determined and deadly ambitious. Nevertheless, most of it depends on them.
Corrado's more open attitude leads to quite an unexpectable ending of the episode. Will he take justice in his own hands?