LOSMOVIES IL TRADITORE CINEMA IN BLUERAY UTORRENT PHONE
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writed by Francesco La Licata
Cast Maria Fernanda Cândido
The real life of Tommaso Buscetta, the so-called "boss of the two worlds," the first mafia informant in Sicily in the 1980s
rating 5003 Votes
7,9 / 10
IL TRADITORE Dominus Marco Chiurato PIANO -1 INTERNO 5 Opere d’ altri sul tuo corpo, invisibili ad occhio nudo e visibili ad occhio vestito La performance consiste in un lavoro psicologico approfondito sul concetto di dominio assoluto, e nel lasciare delle tracce su una o più tele umane inconsapevoli del risultato. frame video Sofia 15 anni frame video Jessica 12 anni frame video Marta 12 anni frame video Maria 14 anni frame video Elisabetta 8 anni.
Losmovies il traditore full movie. 6 novembre 2019 · Cineforum Un film di Marco Bellocchio Con: Pierfrancesco Favino, Maria Fernanda Cândido, Fabrizio Ferracane, Luigi Lo Cascio, Fausto Russo Alesi, Marco Gambino (ITALIA 2018) Drammatico Nei primi anni ’80 è in corso una vera e propria guerra tra i boss della mafia siciliana per il controllo sul traffico della droga. Tommaso Buscetta, conosciuto come il “Boss dei due mondi”, fugge per nascondersi in Brasile e da lontano, assiste impotente all’uccisione di due suoi figli e del fratello a Palermo; ora lui potrebbe essere il prossimo. Arrestato ed estradato in Italia dalla polizia brasiliana, Buscetta prende una decisione che cambierà tutto per la mafia: decide di incontrare il giudice Giovanni Falcone e tradire l’eterno voto fatto a Cosa Nostra.
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The Sicilian capital of Palermo hosted a marathon trial of the Mafia for almost 6 years, from 1986 to 1992. It ended with 338 members of La Cosa Nostra being convicted. 19 men were sentenced to life in prison ( ergastolo). This trial was one of the longest in Mafia history. It was held after the Corleonesi (a faction within the Corleone family of the Sicilian Mafia) killed people brutally in the early 1980s. It turned Mafiosi into informants (Rats) and had a large impact on organized crime in the region. The mobster-turned- pentito ( informant), Tommaso Buscetta emerges as the star witness for the prosecution after he was arrested in Brazil and is angered over the murder of his sons and friends back in Italy. For 20 years he ratted out the Sicilian Mafia which led to many arrests and convictions. Subsequently, he was despised by his former colleagues. He collaborated extensively with Giovanni Falcone, a magistrate who was assassinated in 1992 because of his anti-Mafia efforts. The confession of Buscetta led to some big Mafia players being imprisoned, including godfathers Salvatore “the Beast” Riina and Michele “the Pope” Greco. In the new Italian-language film, “ The Traitor ” (“ Il Traditore ”) directed by Marco Bellocchio, Buscetta, with dark thick hair and a penchant for wearing sunglasses in the courtroom, is played by the brilliant Pierfrancesco Favino. The movie opens with a violent gang war in the 1980’s between two Mafia factions. Though I have seen better, it is fast-paced, violent and gives you a real feel for the explosiveness of the Mafia tension at the time. Buscetta’s willingness to break the code of silence and criticize the Mafia was unprecedented and nothing like it has happened since. At least not on this scale. Both Bellochio and Favino though resisted the urge to make Buscetta look like a saint. Revolting against the Mafia, though noble, it was done privately to Falcone (Fausto Russo Alesi) and under heavy security in the Carcere dell’Ucciardone (prison) where the trial took place. The film also highlights a moral question regarding the relationship between organized crime and religion, most especially the Roman Catholic Church. Buscetta was born into poverty in Palermo in 1928. A catholic city known for its annual celebration of its patroness Saint Rosalia. Unlike Frank Sheeran ’s tight-lipped character in “The Irishman, ” by Martin Scorsese, Buscetta confesses his sins publicly and renounces his former way of life. Still, redemption does not come easy, if at all. Confessions were not made to a cardinal like in “ The Godfather Part III. ” An angry woman who was betrayed by the revelations of Buscetta was asked by a reporter “Ma’am, don’t you believe in Christian forgiveness? ” She replied, “Yes, but first he has to kill himself and then I’ll forgive him. ” Buscetta and his family, as part of the Witness Protection Program, were moved to Salem, N. H, and then Fort Collins, Colo. and finally Miami, Fla. The two-and-a-half hour-long movie is interspersed with footage of the characters’ real-life counterparts, giving it a pseudo-documentary vibe. Although the violence in the first part of the movie feels uneven at times, the other half of “The Traitor” succeeds in providing a riveting courtroom drama. The dialogue delivered by Favino in the last frenzied scenes is fast-paced and hits right where it needs to all while he manages to maintain a cool exterior. In one scene he has an argument with Giuseppe “Pippo” Calò (Fabrizio Ferracane), a longtime associate who denies even knowing Buscetta. It is tense, with a real threat of violent retribution hanging in the air. There’s also some dark comic relief from the antics of prisoners and an annoying call to order from Presiding Judge Alfonso Giordano (played by a very convincing Bruno Cariello). It’s not the best mob movie I’ve seen but it’s definitely worth watching.
On the eve of the secret departure of Italian mafia boss Tommaso Buscetta (Pierfrancesco Favino), he tells his long-time friend and fellow mafia member Giuseppe “Pippo” Calò (Fabrizio Ferracane) to look after his sons. He departs for Brazil, hoping to start a peaceful life with his new wife Cristina (Maria Fernanda Cândido). So begins Marco Bellocchio’s “Il Traditore” (“The Traitor”), a look into the life of one of the first informants from the Italian mafia who helped indict hundreds of mafia members. Grounded in the Maxi Trial of 1986, the largest anti-mafia trial in history, Bellocchio strays from some historical details, creating an at first enrapturing but ultimately superficial and overextended look into Buscetta’s experiences. Things back in Italy go awry for Buscetta when he receives news of numerous deaths of his former colleagues and — more upsettingly — his sons, and is unable to reach Pippo. Bellocchio cuts to scenes of the murders, with a ticking bodycount on the bottom corner of the screen. The Brazilian state police soon catch Buscetta and he’s taken to prison, where he’s tortured for information and eventually handed back to the Italian government. In a crucial turn in history, Buscetta becomes one of the first prominent figures in the mafia to turn informant, giving the state vital and secretive information about his group, Cosa Nostra, which literally translates to “Our Thing” in English (as Busetta explains, that’s what all the members call it, because “The Mafia doesn’t exist. It’s an invention of the press”). As Buscetta stays imprisoned in Italy, he’s questioned by Judge Giovanni Falcone (Russo Alesi), whom he slowly grows to trust. This delicate yet vital relationship plays an enthralling part in the Maxi Trials, one that Bellocchio disappointingly spends little time exploring. Favino delivers a charismatic and captivating performance as Buscetta throughout the film. From his anguish at the loss of his sons to his fury at those who betrayed him, from his lustful passion for Cristina to his seemingly indifferent resignation in becoming an informant, Favino convincingly commands an intense range of emotions. And when he utters unflinchingly, “I’m not scared of dying, I’m not scared of anything, ” it really seems as if he isn’t. His one wish? “To die in my bed. ” Favino’s engaging acting, however, is not enough to create an in-depth look into Buscetta’s character. Bellochio, deftly aware of the political webs he’s playing with through this story, observes most of the other figures from a safe distance. Bellochio vacillates between showing two sides of Buscetta: a womanizing old-time sly mafia member mainly cooperating because he’s left with no choice, and a deeply loyal but vengeful father seeking revenge against those who killed his friends and family. In this way, the audience knows Buscetta is a complicated character, yet Bellochio never gives genuine insight into Buscetta’s exact incentives for supposedly betraying Cosa Nostra. In one of the best rapid-fire dialogue exchanges at Cannesusi, Buscetta and Calo ruthlessly chew each other out in a cross-examination. The dramatic score of string instruments (Nicola Piovani compiles an excellent soundtrack) gives the scene an operatic effect, and complete with the mafia mobsters in cages around the courthouse and disorder everywhere, Bellocchio creates a scene resembling a zoo more than it does a courthouse, and a hilarious one at that. Cross-examination aside, Favino carries on most of the court scenes with a deadpan expression that conceals his thoughts. Though successful at maintaining a composed presence — a performance that contrasts with Luigi Lo Cascio’s portrayal of Busetta’s old ally, the comically engaging Totuccio Contorno, who fervently talks back to the caged mobsters in the courthouse — Bellocchio’s portrayal here again deprives viewers of understanding Buscetta’s motivations for giving testimonies to the state, and whether he foresaw the eventual impact it would have on Cosa Nostra. As enticing as the court scenes are, after a few rounds, Bellocchio gets bogged down in the technicalities of the legal procedures and they start to lose their fresh appeal and comic edge. Again, the time would’ve better spent developing dialogue between Falcone and Buscetta, who takes a backseat as soon as the trial begins, only to never appear again in the film except for a brief farewell scene when Buscetta leaves Italy for the United States under the Witness Protection Program. Perhaps Bellocchio attempts to stay true to the machismo espoused in the Cosa Nostra circles, but his dismissal of female characters in the film is disappointing. Even Francis Ford Coppoola gave more agency to he female characters in “The Godfather” (which was released over 40 years ago), and with this year’s festival so heavily publicizing equal representation, Bellochio seems to be clueless of (or indifferent to) the cultural movement. The women — sisters, wives, especially Cristina — are seen mostly as sexual objects, as Bellocchio shows a phone call where Cristina masturbates over the phone to a saudade Buscetta, who’s in jail, as one of the determining factors for Buscetta’s decision to become an informant. Even Buscetta’s sincere declaration that families are “untouchables” to Cosa Nostra is reductive: Just as much as women are protected, they’re also prevented from having any agency or control in family matters, only seen as powerless victims and pawns in the game left to deal with the dire consequences of the men’s actions. Unfortunately, the film goes about 40 minutes too long. Where a natural ending point to the film could’ve been, Bellocchio takes us back into Buscetta’s life, for reasons unclear, as the film recounts historical events in his life without revealing what his earlier incentives were. If anything, Buscetta becomes a more muddled character in result. Even though Bellocchio romanticizes the old Cosa Nostra and Buscetta’s honor to it, “Il Traditore” is a mesmerizing story of crime and betrayal and amusing court scenes — until it’s not. —Staff writer Lucy Wang can be reached at Follow her on Twitter @lucyywang22.
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