Editing Cinema of Italy (section)

===1960s===
====Spaghetti Western (1960s–1970s)====
{{Main|Spaghetti Western}}
[[File:SERGIO LEONE.jpg|thumb|[[Sergio Leone]], widely regarded as one of the most influential directors in the history of cinema.<ref name="ew.com">{{cite magazine|url=http://ew.com/article/1996/04/19/50-greatest-directors-and-their-100-best-movies/|title=The 50 Greatest Directors and Their 100 Best Movies|magazine=[[Entertainment Weekly]]|date=19 April 1996|access-date=7 June 2019|archive-url=https://web.archive.org/web/20190607165813/https://ew.com/article/1996/04/19/50-greatest-directors-and-their-100-best-movies/|archive-date=7 June 2019|url-status=live}}</ref><ref name="Greatest Film Directors">{{cite web|url=https://www.filmsite.org/directors.html|title=Greatest Film Directors|website=[[Filmsite.org]]|access-date=7 June 2019|archive-url=https://web.archive.org/web/20190905115334/https://www.filmsite.org/directors.html|archive-date=5 September 2019|url-status=live}}</ref>]]

On the heels of the [[sword-and-sandal]] craze, a related genre, the [[Spaghetti Western]] arose and was popular both in Italy and elsewhere. These films differed from traditional [[Western (genre)|western]]s by being filmed in Europe on limited budgets, but featured vivid cinematography. The term was used by foreign critics because most of these westerns were produced and directed by Italians.<ref>{{cite web|url=https://www.spaghetti-western.net/index.php/Introduction | first1 = Simon | last1 = Gelten | last2 = Lindberg | date = 10 November 2015| title = Introduction | website = Spaghetti Western Database | archive-url = https://web.archive.org/web/20170630005758/https://www.spaghetti-western.net/index.php/Introduction | archive-date = 30 June 2017 | url-status = live | access-date = 2 May 2021}}</ref>

The most popular Spaghetti Westerns were those of [[Sergio Leone]], credited as the inventor of the genre,<ref>{{cite web|url=http://www.raistoria.rai.it/articoli/sergio-leone-creatore-degli-spaghetti-western/12891/default.aspx|title=Sergio Leone creatore degli 'spaghetti-western'|archive-url=https://web.archive.org/web/20160303225945/http://www.raistoria.rai.it/articoli/sergio-leone-creatore-degli-spaghetti-western/12891/default.aspx |url-status=dead|archive-date=3 March 2016|language=it|access-date=29 November 2022}}</ref><ref>{{Cite web|url=https://www.linkiesta.it/2013/04/i-film-di-sergio-leone-re-dello-spaghetti-western/|archive-url=https://web.archive.org/web/20160303102829/http://www.linkiesta.it/it/article/2013/04/30/i-film-di-sergio-leone-re-dello-spaghetti-western/13350/|url-status=dead|title=I film di Sergio Leone, re dello spaghetti western|date=30 April 2013|archive-date=3 March 2016|language=it|access-date=29 November 2022}}</ref> whose [[Dollars Trilogy]] (1964's ''[[A Fistful of Dollars]]'', an unauthorized remake of the Japanese film ''[[Yojimbo]]'' by [[Akira Kurosawa]]; 1965's ''[[For a Few Dollars More]]'', an original sequel; and 1966's  ''[[The Good, the Bad and the Ugly]]'', a World-famous prequel), featuring [[Clint Eastwood]] as a character marketed as "the [[Man with No Name]]" and notorious scores by [[Ennio Morricone]], came to define the genre along with ''[[Once Upon a Time in the West]]'' (1968).

Another popular Spaghetti Western film is [[Sergio Corbucci]] ''[[Django (1966 film)|Django]]'' (1966), starring [[Franco Nero]] as [[Django (character)|the titular character]], another ''Yojimbo'' plagiarism, produced to capitalize on the success of ''A Fistful of Dollars''. The original ''Django'' was followed by both an authorized sequel (1987's ''[[Django Strikes Again]]'') and an overwhelming number of unauthorized uses of the same character in other films.
<gallery widths="200px" heights="165px">
File:Franco Nero (Django).jpg|[[Franco Nero]] as [[Django (character)|Django]] in the [[Django (1966 film)|film of the same name]] by [[Sergio Corbucci]] (1966).
File:Il pistolero dell Ave Maria - 1969 Mann.png|''[[The Forgotten Pistolero]]'' by [[Ferdinando Baldi]] (1969)
</gallery>

====Bud Spencer and Terence Hill (1960s–1990s)====
{{main|Terence Hill and Bud Spencer}}

[[File:Lo chiamavano Trinità.png|thumb|300px|[[Terence Hill and Bud Spencer|Bud Spencer and Terence Hill]] in ''[[They Call Me Trinity]]'' by [[Enzo Barboni]] (1970)]]
Also considered Spaghetti Westerns is a film genre which combined traditional western ambience with a [[Commedia all'italiana]]-type comedy; films including ''[[They Call Me Trinity]]'' (1970) and ''[[Trinity Is Still My Name]]'' (1971), both by [[Enzo Barboni]], which featured [[Terence Hill and Bud Spencer|Bud Spencer and Terence Hill]], the stage names of [[Carlo Pedersoli]] and [[Mario Girotti]].

[[Terence Hill and Bud Spencer]] made numerous films together.<ref>{{cite web |url=https://www.bbc.com/news/entertainment-arts-36648131 |title=Spaghetti western star Bud Spencer dies |date=28 June 2016 |publisher=[[BBC News]] |quote=He frequently appeared as part of a double act alongside Terence Hill}}</ref> Most of their early films were Spaghetti Westerns, beginning with ''[[God Forgives... I Don't!]]'' (1967), the first part of a trilogy, followed by ''[[Ace High (1968 film)|Ace High]]'' (1968) and ''[[Boot Hill (film)|Boot Hill]]'' (1969), but they also starred in comedies such as ''[[... All the Way, Boys!]]'' (1972) and ''[[Watch Out, We're Mad!]]'' (1974).

The next films shot by the couple of actors, almost all comedies, were ''[[Two Missionaries]]'' (1974), ''[[Crime Busters]]'' (1977), ''[[Odds and Evens (film)|Odds and Evens]]'' (1978), ''[[I'm for the Hippopotamus]]'' (1979), ''[[Who Finds a Friend Finds a Treasure]]'' (1981), ''[[Go for It (1983 film)|Go for It]]'' (1983), ''[[Double Trouble (1984 film)|Double Trouble]]'' (1984), ''[[Miami Supercops]]'' (1985) and ''[[Troublemakers (1994 film)|Troublemakers]]'' (1994).
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====Giallo (1960s–present)====
{{main|Giallo}}
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 | image1 = Mario Bava.jpg
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 | caption1 = [[Mario Bava]], referred to as the "Master of Italian Horror"<ref>{{cite book |last=Pezzotta |first= Alberto|date=1995 |title= Mario Bava |location=Milan |publisher= Il Castoro Cinema}}</ref> and the "Master of the Macabre".<ref>{{cite web|url=https://mubi.com/films/mario-bava-maestro-of-the-macabre|title=Mario Bava: Maestro of the Macabre (2000)–MUBI|access-date=2 December 2022}}</ref>
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 | caption2 = [[Dario Argento]], referred to as the "Master of the Thrill"<ref>{{Cite web|url=https://archivio.corriere.it/Archivio/interface/landing.html|title=Archivio Corriere della Sera|website=archivio.corriere.it}}</ref> and the "Master of Horror".<ref>{{Cite web|url=https://www.mymovies.it/film/1991/dario-argento-master-of-horror/|title=Dario Argento - Master of Horror|website=MYmovies.it}}</ref>
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During the 1960s and 1970s, Italian filmmakers [[Mario Bava]], [[Riccardo Freda]], [[Antonio Margheriti]] and [[Dario Argento]] developed ''[[giallo]]'' (plural ''gialli'', from [[:wiktionary:giallo|''giallo'']], Italian for "yellow") horror films that become classics and influenced the genre in other countries. Representative films include: ''[[The Girl Who Knew Too Much (1963 film)|The Girl Who Knew Too Much]]'' (1963), ''[[Castle of Blood]]'' (1964), ''[[The Bird with the Crystal Plumage]]'' (1970), ''[[Twitch of the Death Nerve]]'' (1971), ''[[Deep Red]]'' (1975) and ''[[Suspiria]]'' (1977).

''Giallo'' is a genre of [[mystery fiction]] and [[thriller (genre)|thrillers]] and often contains [[Slasher film|slasher]], [[crime fiction]], [[psychological thriller]], [[psychological horror]], [[Sexploitation film|sexploitation]], and, less frequently, [[supernatural|supernatural horror]] elements.<ref>{{cite web|work=WhatCulture |url=http://whatculture.com/film/watch-me-while-i-kill-top-20-italian-giallo-films.php |title=Watch Me While I Kill: Top 20 Italian Giallo Films |author=Simpson, Clare |date=4 February 2013 |url-status=dead |archive-url=https://web.archive.org/web/20151117220049/http://whatculture.com/film/watch-me-while-i-kill-top-20-italian-giallo-films.php |archive-date=17 November 2015}}</ref> ''Giallo'' developed in the mid-to-late 1960s, peaked in popularity during the 1970s, and subsequently declined in commercial mainstream filmmaking over the next few decades, though examples continue to be produced. It was a predecessor to, and had significant influence on, the later American [[slasher film]] genre.<ref>{{cite book|first=J.A.|last=Kerswell|title=The Slasher Movie Book|year=2012 |publisher=Chicago Review Press|isbn=978-1556520105|pages=46–49}}</ref>

''Giallo'' usually blends the atmosphere and suspense of [[thriller fiction]] with elements of [[horror fiction]] (such as slasher violence) and [[eroticism]] (similar to the French ''[[fantastique]]'' genre), and often involves a mysterious killer whose identity is not revealed until the final act of the film. Most critics agree that the ''giallo'' represents a distinct category with unique features,<ref>{{cite web|url=https://filmschoolrejects.com/10-giallo-films-for-beginners/|title=10 Giallo Films for Beginners|date=13 October 2018|website=Film School Rejects|access-date=27 December 2020}}</ref> but there is some disagreement on what exactly defines a ''giallo'' film.<ref name="koven">{{cite book |last=Koven |first=Mikel |date=2 October 2006 |title= La Dolce Morte: Vernacular Cinema and the Italian Giallo Film |publisher=[[Scarecrow Press]] |isbn=0810858703 |page=66}}</ref>
[[File:Ragazza1963Bava01.png|thumb|''[[The Girl Who Knew Too Much (1963 film)|The Girl Who Knew Too Much]]'' by [[Mario Bava]] (1963), considered by most critics to be the first ''[[giallo]]'' film.<ref>{{cite web|url=https://nerocafe.net/profondo-nero/la-ragazza-che-sapeva-troppo/|title=La ragazza che sapeva troppo|date=3 February 2012 |access-date=2 December 2022|language=it}}</ref>]]

''Giallo'' films are generally characterized as gruesome murder-mystery thrillers that combine the suspense elements of [[detective fiction]] with scenes of shocking [[horror fiction|horror]], featuring excessive bloodletting, stylish camerawork and often jarring musical arrangements. The [[Archetype|archetypal]] ''giallo'' plot involves a mysterious, black-gloved psychopathic killer who stalks and butchers a series of beautiful women.<ref name="How To Spot">{{cite web|url=https://www.telegraph.co.uk/culture/film/10377468/Violence-mystery-and-magic-how-to-spot-a-giallo-movie.html |archive-url=https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/culture/film/10377468/Violence-mystery-and-magic-how-to-spot-a-giallo-movie.html |archive-date=12 January 2022 |url-access=subscription |url-status=live|title=Violence, mystery and magic: how to spot a giallo movie|publisher=The Tekegraph|author=Anne Billson|date=14 October 2013|access-date=29 August 2014}}{{cbignore}}</ref> While most ''gialli'' involve a human killer, some also feature a [[supernatural]] element.<ref name="Abrams">{{cite web |last=Abrams |first=Jon |title=GIALLO WEEK! YOUR INTRODUCTION TO GIALLO FEVER! |url=http://dailygrindhouse.com/2015/03/16/giallo-week-introduction-giallo-fever/ |date=16 March 2015 |website=The Daily Grindhouse |access-date=30 March 2015 |url-status=dead |archive-url=https://web.archive.org/web/20150324055034/http://dailygrindhouse.com/2015/03/16/giallo-week-introduction-giallo-fever/ |archive-date=24 March 2015 }}</ref>

The typical ''giallo'' [[protagonist]] is an outsider of some type, often a traveller, [[tourist]], outcast, or even an alienated or disgraced [[private investigator]], and frequently a young woman, often a young woman who is lonely or alone in a strange or foreign situation or environment (''gialli'' rarely or less frequently feature [[law enforcement officer]]s as chief protagonists).<ref name="Abrams"/><ref name="Needham">{{cite web |url=http://www.kinoeye.org/02/11/needham11.php |title=Playing with Genre: An Introduction to the Italian Giallo |last=Needham |first=Gary |website=Kinoeye |access-date= 3 September 2014}}</ref>

The protagonists are generally or often unconnected to the murders before they begin and are drawn to help find the killer through their role as [[witness]]es to one of the murders.<ref name="Abrams"/> The mystery is the identity of the killer, who is often revealed in the [[Climax (narrative)|climax]] to be another key character, who conceals his or her identity with a [[disguise]] (usually some combination of hat, mask, sunglasses, gloves, and trench coat).<ref name="koven 4">{{cite book |last=Koven |first =Mikel |date=2 October 2006  |title= La Dolce Morte: Vernacular Cinema and the Italian Giallo Film|publisher=[[Scarecrow Press]] |isbn=0810858703 |page=4}}</ref> Thus, the literary [[whodunit]] element of the ''giallo'' novels is retained, while being filtered through horror genre elements and Italy's long-standing tradition of [[opera]] and staged [[Grand Guignol|grand guignol]] drama. The structure of ''giallo'' films is also sometimes reminiscent of the so-called "[[weird menace]]" pulp magazine horror mystery genre alongside [[Edgar Allan Poe]] and [[Agatha Christie]].<ref>{{cite web|url=https://unwinnable.com/2018/12/07/torso-wizard-of-gore/|title=Of Giallo and Gore: A Review &#124; Unwinnable|website=unwinnable.com|date=7 December 2018|access-date=27 December 2020}}</ref>

<gallery widths="200px" heights="165px">
File:Sei donne per l'assassino.png|A scene from ''[[Blood and Black Lace]]'' by [[Mario Bava]] (1964)
File:Profondo rosso (1975) Giuliana Calandra (2).png|[[Giuliana Calandra]] in a famous scene from ''[[Deep Red]]'' by [[Dario Argento]] (1975)
</gallery>

====Poliziotteschi (1960s–1970s)====
{{Main|Poliziotteschi}}
[[File:Milano calibro 9 (Ugo Piazza).PNG|thumb|''[[Caliber 9]]'' by [[Fernando Di Leo]] (1972)]]
[[Poliziotteschi]] (plural of poliziottesco) films constitute a subgenre of crime and action films that emerged in Italy in the late 1960s and reached the height of their popularity in the 1970s. They are also known as ''polizieschi all'italiana'', Euro-crime, Italo-crime, spaghetti crime films', or simply Italian crime films.

Influenced by both 1970s [[Gangster film#French gangster films|French crime films]] and gritty 1960s and 1970s American [[Crime thriller|cop films]] and [[vigilante film]]s,<ref>{{cite web|url=https://birthmoviesdeath.com/2015/09/13/violent-italy-a-poliziotteschi-primer|title=Violent Italy: A Poliziotteschi Primer|date=13 September 2015|access-date=13 January 2022}}</ref> poliziotteschi films were made amidst an atmosphere of [[Anni di piombo|socio-political turmoil in Italy]] and increasing Italian crime rates.

The films generally featured graphic and brutal violence, organized crime, [[car chase]]s, vigilantism, [[heist film|heists]], gunfights, and corruption up to the highest levels. The protagonists were generally tough working-class loners, willing to act outside a corrupt or overly bureaucratic system.<ref name=curti>{{cite book|last1=Curti|first1=Roberto|title=Italian Crime Filmography, 1968–1980|date=2013|publisher=McFarland|isbn=9781476612089|url=https://books.google.com/books?id=4VxOAQAAQBAJ&q=poliziesco+poliziotteschi&pg=PA1}}</ref> Notable international actors who acted in this genre of films include [[Alain Delon]], [[Henry Silva]], [[Fred Williamson]], [[Charles Bronson]], [[Tomas Milian]] and others.
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====Franco and Ciccio (1960s–1980s)====
{{Main|Franco and Ciccio}}
[[File:Franco Franchi & Ciccio Ingrassia.jpg|thumb|From left to right, [[Franco and Ciccio]]]]

[[Franco and Ciccio]] were a comedy duo formed by Italian actors [[Franco Franchi]] (1928–1992) and [[Ciccio Ingrassia]] (1922–2003), particularly popular in the 1960s and 1970s. Together, they appeared in 116 films, usually as the main characters, and occasionally as supporting characters in films featuring well-known actors such as [[Totò]], [[Domenico Modugno]], [[Vittorio Gassman]], [[Buster Keaton]] and [[Vincent Price]].<ref>{{cite web|url=https://www.rainews.it/archivio-rainews/articoli/franco-ciccio-mostra-palermo-7f8377f2-5950-49d4-a4fe-a28e020701c9.html|title=Franco e Ciccio in mostra|date=10 December 2013 |access-date=3 December 2022|language=it}}</ref>

Their collaboration began in 1954 in the theatre field, and ended with Franchi's death in 1992. The two made their cinema debut in 1960 with the film ''[[Appuntamento a Ischia]]''. After, seeing them in this film Modugno, who wanted them with him in his film,<ref>{{Cite news|url=http://www.lastoriasiamonoi.rai.it/puntate/franco-e-ciccio/971/default.aspx|title=Franco e Ciccio – Una coppia in fotografia – La Storia siamo noi|access-date=14 September 2018|archive-url=https://web.archive.org/web/20180914132456/http://www.lastoriasiamonoi.rai.it/puntate/franco-e-ciccio/971/default.aspx|archive-date=14 September 2018|url-status=dead|language=it}}</ref><ref name=":2">{{Cite web|url=http://ricerca.repubblica.it/repubblica/archivio/repubblica/1992/12/10/morto-franco-franchi-una-carriera-per-ridere.html|title=MORTO FRANCO FRANCHI UNA CARRIERA PER RIDERE – la Repubblica.it|date=10 December 1992 |access-date=14 September 2018|language=it}}</ref> and remained active until 1984 when they shot their last film together, ''[[Kaos (film)|Kaos]]'', although there were some interruptions in 1973, and from 1975 to 1980.<ref name=":1">{{Cite web|url=https://palermo.repubblica.it/cronaca/2012/12/11/news/una_piazza_per_franco_e_ciccio-48510063/|title=Una piazza per Franco e Ciccio amarcord tra vicoli e teatrini – Palermo – Repubblica.it|date=11 December 2012|access-date=14 September 2018|language=it}}</ref>

They acted in films certainly made in a short time and with few means, such as those shot with director [[Marcello Ciorciolini]], sometimes even making a dozen films in a year, often without a real script and where they often improvised on the set. Also are the 13 films directed by [[Lucio Fulci]], who was the architect of the reversal of their typical roles by making Ciccio the serious one, the sidekick, and Franco the comic one.<ref>{{Cite web|url=http://iltirreno.gelocal.it/regione/toscana/2015/01/09/news/franco-e-ciccio-amatissimi-dal-pubblico-detestati-dalla-critica-1.10634866|title=Franco e Ciccio: amatissimi dal pubblico, detestati dalla critica - Toscana - il Tirreno|access-date=14 September 2018|language=it}}</ref>

They also worked with important directors such as [[Pier Paolo Pasolini]] and the [[Taviani brothers]]. At the time, they were considered protagonists of [[B movie]], they were subsequently reevaluated by critics for their comedy and creative abilities, becoming the subject of study.<ref>{{Cite web|url=http://www.sentieriselvaggi.it/libri-di-cinema-due-cialtroni-alla-rovescia-studio-sulla-comicit-di-franco-franchi-e-ciccio-ingrassia-di-fabio-piccione/|title=Libri di cinema - "Due Cialtroni alla rovescia. Studio sulla comicità di Franco Franchi e Ciccio Ingrassia" di Fabio Piccione. - SentieriSelvaggi|date=6 June 2005 |access-date=14 September 2018}}</ref><ref>{{Cite web|url=https://www.mondadoristore.it/Soprassediamo-Franco-Gordiano-Lupi/eai978887606548/|title=Soprassediamo! Franco & Ciccio story. Il cinema comico-parodistico di Franco Franchi e Ciccio Ingrassia. Ediz. illustrata - Gordiano Lupi|publisher=Mondadori Store Team|access-date=14 September 2018}}</ref> The huge success with the public is evidenced by the box office earnings, which in the 1960s, represented 10% of the annual earnings in Italy.<ref>DVD N.9 ''Lezioni di cinema'', Repubblica-L'espresso</ref>

==== Social and political cinema (1960s–1970s) ====
The auteur cinema of the 1960s continues its path by analyzing distinct themes and problems. A new authorial vision is emancipated from the surreal and existential veins of Fellini and Antonioni which sees cinema as an ideal means of denouncing corruption and malfeasance,<ref>For a continuation of this kind in the 2000s, see "[https://www.radioradicale.it/scheda/507445/cinema-cinema-la-tenerezza-di-gianni-amelio Cinema & cinema: "La tenerezza" di Gianni Amelio]", according to which "The tenderness" of Amelio "refers to the whole of Italy affected by corruption inveterate by frustrations without escape from racist hatred: it refers to that sense of death, of paralysis, of the lack of ideal perspectives, which Italian films have incessantly recorded for years ".</ref> both in the political system and in the industrial world. Thus was born the structure of the investigative film which, starting from the neorealist analysis of the facts, added to them a concise critical judgment, with the manifest intent of shaking the consciences of public opinion. This typology deliberately touches upon burning issues, often targeting the established power, with the intent of reconstructing a historical truth that is often hidden or denied.<ref name = "cp" >{{cite web|url=http://www.treccani.it/enciclopedia/politico_(Enciclopedia-del-Cinema)/|title=Il Cinema Politico – Treccani |access-date=5 January 2022|language=it}}</ref>
[[File:Indagine su un cittadino al di sopra di ogni sospetto (film).jpg|thumb|left|[[Gian Maria Volonté]] and [[Florinda Bolkan]] in ''[[Investigation of a Citizen Above Suspicion]]'' by [[Elio Petri]] (1970)]]

The precursor of this way of understanding the director's profession was [[Francesco Rosi]].<ref>{{cite web|url=http://www.davinotti.com/index.php?option=com_content&task=view&id=145|title=Il Cinema Politico - Il Davinotti|access-date=10 November 2015|language=it}}</ref> In 1962 he inaugurated the investigation film project retracing, through a series of long [[Flashback (narrative)|flashback]]s, the life of the homonym Sicilian criminal in the film ''[[Salvatore Giuliano (film)|Salvatore Giuliano]]''. The following year he directed [[Rod Steiger]] in ''[[Hands over the City]]'' (1963), in which he courageously denounced the collusion existing between the various organs of the State and the building exploitation in Naples. The film was awarded the [[Golden Lion]] at the [[Venice Film Festival]].

One of Francesco Rosi's most famous films of denunciation is ''[[The Mattei Affair]]'' (1972), a rigorous documentary into the mysterious disappearance of [[Enrico Mattei]], manager of [[Eni]], a large Italian state group. The film won the [[Palme d'Or]] at the [[Cannes Film Festival]]. It became (together with the tight ''[[Illustrious Corpses]]'' (1976)) a true model for similar denunciation films produced both in Italy and abroad. Famous films of denunciation by [[Elio Petri]] are ''[[The Working Class Goes to Heaven]]'' (1971), a corrosive denunciation of life in the factory (winner of the Palme d'Or at Cannes) and ''[[Investigation of a Citizen Above Suspicion]]'' (1970). The latter (accompanied by the incisive soundtrack by [[Ennio Morricone]]) is a dry psychoanalytic thriller centred on the aberrations of power, analyzed in a pathological key.<ref>{{Cite book|title=Dizionario dei film 2011|first=Paolo|last=Mereghetti|author-link=Paolo Mereghetti|publisher= B.G Dalai editore|year= 2011|isbn=978-88-6073-626-0|page= 1654|language=it}}</ref> The film obtained a wide consensus, winning the [[Academy Award for Best International Feature Film]] the following year.

Arguments related to civilian cinema can be found in the work of [[Damiano Damiani]], who with ''[[The Day of the Owl (film)|The Day of the Owl]]'' (1968) enjoyed considerable success. Other feature films include, ''[[Confessions of a Police Captain]]'' (1971), ''[[The Case Is Closed, Forget It]]'' (1971), ''[[How to Kill a Judge]]'' (1974) and ''[[I Am Afraid]]'' (1977). Also [[Pasquale Squitieri]] for the film ''[[Il prefetto di ferro]]'' (1977) and [[Giuliano Montaldo]], who after some experiences as an actor, staged some historical and political films such as ''[[The Fifth Day of Peace]]'' (1970), ''[[Sacco & Vanzetti (1971 film)|Sacco & Vanzetti]]'' (1971) and ''[[Giordano Bruno (film)|Giordano Bruno]]'' (1973). Also [[Nanni Loy]] for the film ''[[In Prison Awaiting Trial]]'' (1971) starring [[Alberto Sordi]].