FLIGHT OF THE INNOCENT
A film review by James Berardinelli
Copyright 1994 James Berardinelli
Rating (Linear 0 to 10): 7.7
Date Released: varies Running Length: 1:45 Rated: R (Graphic violence)
Starring: Manuel Colao, Francesca Neri, Jacques Perrin, Federico Pacifici, Lucio Zagaria Director: Carlo Calei Producers: Franco Cristaldi and Domenico Procacci Screenplay: Carlo Calei and Gualtiero Rosella Music: Carlo Siliotto Released by MGM In Italian with subtitles
FLIGHT OF THE INNOCENT is director Carlo Calei's feature debut, and if certain elements of the movie have a familiar feel, it's no accident. Mr. Calei is an unabashed admirer of American filmmakers such as Martin Scorsese and Steven Spielberg, and he has made use of several of those mens' cinematic techniques to enrich his own movie.
The "innocent" of the title is Vito (Manuel Colao), the ten year old son of a family of criminals. When there's a falling out with some "associates" over the kidnapping and murder of a millionaire's son, a massacre ensues in which every member of Vito's family is killed. The boy's quickness and intelligence are the only things that save him. But the killer (Federico Pacifici) knows about Vito, and when he learns that the child is headed for Rome, the chase is on. During a journey that is as much a moral trek as a physical one, Vito must confront the deeds of his family and attempt to make what little recompense he can - all while his own chance of survival becomes dimmer by the moment.
The same kind of pulse-pounding excitement evident in one of 1993's most popular American thrillers, THE FUGITIVE, can be found in FLIGHT OF THE INNOCENT. Except during several character-building sequences (most of which work surprisingly well--many of the players in this story, especially Vito, have depth and breadth), this film is driven by adrenaline, and whenever the action slows for a while, you can be sure that another fast-paced scene is just around the corner. The result is a mostly-linear story that passes at an amazing rate.
Mr. Calei borrows many of his most stunning visual images from Martin Scorsese, including a "blood flower" that depicts beauty in the midst of gut-wrenching horror. The "boy's view" camera angles (from Spielberg) are utilized exceptionally well--enough to be interesting, but not enough to overexpose the viewer to the technique.
Sounds, like sights, are on the director's pallet. Footfalls, breathing, gunshots, lightning--these all come across with startling clarity, complimenting the visuals and emphasizing the tension.
Unfortunately, the last third of FLIGHT OF THE INNOCENT suffers from script-related problems that dampen the strength of the climax and conclusion. Plot contrivances conspire to stretch the credulity of the audience. On one occasion, Vito suddenly acts in an atypical (and almost inexplicable) manner that seems designed to move the story in a certain direction.
The "child in danger" premise can, if handled properly, produce a tautly- effective thriller. Barring a few flaws, director Carlo Calei has done so with FLIGHT OF THE INNOCENT. The viewpoint here is that of a boy whose guilt is by blood, not deed, and we are given an opportunity to witness an added dimension to the genre: this blameless child's inner battle with remorse even as he flees for his life.
- James Berardinelli (blake7@cc.bellcore.com)
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