I liked it. Although certain events of the so-called "Second Mafia war" took place, between the
1981-83, have been changed and rightly accelerated due to the film's rhythms (for istance the death of Salvatore Inzerillo is set in 1982 and not 1981 and is little bit different about how he was killed). Bellocchio has been able to discreetly direct a film that is not at all simple and above all with a character as a protagonist absolutely not easy to manage.
Favino is certainly the strong point of the whole film, with a really intense acting from beginning to end. So much has fallen well in the shoes of Buscetta that sometimes seems to see and above all feel the real Don Masino. The Maxi-Trial of 1986, shot among other things in the Palermo's bunker room, the same where the real historical juridical process took place is certainly the point that entertains the viewer the most. The comparison between Calò and Buscetta is truly faithful to what was really there, the same thing the scenes with the other Pentito, Salvatore Contorno, the scenes when he speaks fluent sicilian slang are really similar with the original deposition, but having proposed with other realism also other salient moments with the other defendants was really classy. Perhaps the film falls just in the act after the Maxi-Trial and following the 1992's Massacres (Capaci and Via d'Amelio) , when going towards the conclusion by now the same Buscetta becomes precisely more and more "invisible" and without anything more particularly interesting to reveal.
Favino is certainly the strong point of the whole film, with a really intense acting from beginning to end. So much has fallen well in the shoes of Buscetta that sometimes seems to see and above all feel the real Don Masino. The Maxi-Trial of 1986, shot among other things in the Palermo's bunker room, the same where the real historical juridical process took place is certainly the point that entertains the viewer the most. The comparison between Calò and Buscetta is truly faithful to what was really there, the same thing the scenes with the other Pentito, Salvatore Contorno, the scenes when he speaks fluent sicilian slang are really similar with the original deposition, but having proposed with other realism also other salient moments with the other defendants was really classy. Perhaps the film falls just in the act after the Maxi-Trial and following the 1992's Massacres (Capaci and Via d'Amelio) , when going towards the conclusion by now the same Buscetta becomes precisely more and more "invisible" and without anything more particularly interesting to reveal.