The Sixties was a time of breaking rules and exploring social themes and political ideas that weren't allowed to be expressed in the repressive Fifties. It was a Golden Era of Italian cinema, producing Antonioni's, Visconti's and Fellini's best films, along with so many gems like Olmi's "Il Posto", Germi's "Divorce: Italian Style" and Monicelli's "The Organiser." "Fists in the Pocket" stands out for its dark subject matter, which examines the mind of a sociopath.
While this was not new ground—Clouzot's "Diabolique", Clement's "Purple Noon", Powell's "Peeping Tom" and Hitchcock's more lurid "Psycho" allowed us into the head of a killer—"Fists in the Pocket" portrays a much more nuanced character. What those films don't spend a lot of time on is the motivation behind their characters' actions, outside of their own amoral nature or perhaps some hinted trauma. In this film, while we certainly don't sympathise with the characters' actions, we clearly understand their motivations.
The protagonist of the film is Sandro, but I'd argue that the main character is the family, since it's the family dynamic that drives all action in the film. Sandro and two of his three siblings have varying degrees of epilepsy, and all three grown children live with and care for their blind mother. There's a definite sense of claustrophobia and dread in this family, who all seem trapped by their own love for each other. Their desire to break free of their mother's control and the burden of caring for each other leads to plans being hatched and tragic consequences.
It's quite an oddball story, almost Lynchian, but what makes the characters so utterly believable is the unpredictability of their behaviour, along with some excellent acting, particularly by Lou Castel, who allows us to see into his mind without saying a word. Add to that a soundtrack by Ennio Morricone and absolutely sublime photography—it's one of those rare films where you can frame almost every shot—and you've got one of the standout films from a standout period of filmmaking.
While this was not new ground—Clouzot's "Diabolique", Clement's "Purple Noon", Powell's "Peeping Tom" and Hitchcock's more lurid "Psycho" allowed us into the head of a killer—"Fists in the Pocket" portrays a much more nuanced character. What those films don't spend a lot of time on is the motivation behind their characters' actions, outside of their own amoral nature or perhaps some hinted trauma. In this film, while we certainly don't sympathise with the characters' actions, we clearly understand their motivations.
The protagonist of the film is Sandro, but I'd argue that the main character is the family, since it's the family dynamic that drives all action in the film. Sandro and two of his three siblings have varying degrees of epilepsy, and all three grown children live with and care for their blind mother. There's a definite sense of claustrophobia and dread in this family, who all seem trapped by their own love for each other. Their desire to break free of their mother's control and the burden of caring for each other leads to plans being hatched and tragic consequences.
It's quite an oddball story, almost Lynchian, but what makes the characters so utterly believable is the unpredictability of their behaviour, along with some excellent acting, particularly by Lou Castel, who allows us to see into his mind without saying a word. Add to that a soundtrack by Ennio Morricone and absolutely sublime photography—it's one of those rare films where you can frame almost every shot—and you've got one of the standout films from a standout period of filmmaking.