To judge from the credits alone - brief glimpses of shades-wearing men
having seedy conversations; shots of wads of lira; guns - RC is either a shitty
cheesy crime drama set in the 70s in the vein of the
Professionals, or a cool
Goodfellas-style
fast-paced anthropological study of Italian crime in Italy.
Even
the promo photo looks shit. Happily, this story of the real-life Banda
della Magliana is neither; fortuitously, it is the greatest TV programme maybe
ever.
It is a
bildungsroman of a gang, centring on its leader, small-time
hood Lebanese, who lives in a small caravan by the Tiber. Inevitably, he forges
alliances with local hoods and runs risks with dogged determination as they
come up against better-connected foes and the sinister Camorra. So far so
Scarface.
But we who know little about the Banda in advance of its screening are
never given the sense that their rise to power will be inevitable in the same
sense as a Hollywood gangster epic. Limited by their running time, the big
screen bildungsroman defaults to vignettes, presenting the trajectory of
character in a single unvarying gradient, always seeming like an abridged
biography retold by an omniscient narrator.
Romanzo Criminale's format,
whilst conforming to type with its 12 intriguing introductions and 12
cliff-hanger endings, allows many twists and set-backs and seems much closer to
a geniune thriller than a morality tale, which is effectively what
Scarface,
Goodfellas, et al. are. In fact, the gang's transition from small-time
hoodlumry to the big stage establishes once and for all supremacy of the novel
and the TV series over story, film and stage in matters of exposition.
Most interesting is the fact that
RC is set during Italy's
anno di
piombi. This is the most triumphant detail in the series. The historical
gravitas of Italy's torrid recent past elevates
Criminale way, way above
run-of-the-mill crime dramas and makes HBO centrepieces like the
Sopranos
look like a dreary soap-opera and
Life on Mars like the fantasy it is
(people with no historical sense have compared it to both). The series begins
like the flashbacks in Godfather Part 2 and hits another level when Aldo Moro
is kidnapped by the Red Brigades. It is the crucially-important historical backdrop
which makes the Italian state itself - in the form of the shady secret service,
the identity of whose acolytes we see interspersed throughout the series, is
only very slowly revealed - complicit in breaking the rule of law in exactly
the same way as the Banda did. They are morally equivalent, these murdering
thieves from the poor part of Rome and the security service, the writers tell
us.
The facts
bear out the claim.
BP wasn’t alive to experience the 1970s in Italy, so we will refrain from
posturing about its historical authenticity, but it looks and feels like a
different, grubbier, less technologically sophisticated era and one familiar
from archive footage. We know that the 1970s in Western Europe
saw
serious threats to the established order in the form of Communism, trade
unionism, terrorism (Red, Black and anti-colonial) and, perhaps most of all,
the Yom Kippur War and the resulting oil crisis of 1973. The piece of the pie
seemed to get smaller across the West. A new, grubbier realism set in after the
optimism of the 60s. It even
saturated
Hollywood. Watergate happened. Baader-Meinhof were running crazy across
West Germany. The British army were shooting civilians in Ulster.
Men
were dressing up as women and pretending to be space aliens with 1950s’ licks.
The US pulled out of ‘Nam, unable to defeat a determined army of peasants with
AKs. Were the liberal values of the West falling apart? Was Communism going to
take over?
The
Years of Lead as
presented in
Criminale show the
audience that Italy, far from being the land of fashion, pasta and football
familiar to English-speaking contemporaries, was - is - an intensely political
nation divided, like much of Europe, into three camps by its reaction to
Anglo-capitalism. Firstly, the left, the Red Brigades and Anarchists, who
kidnapped and murdered the Prime Minister of Italy,
Aldo Moro in 1978 (we are
given a glimpse of this through Inspector Scaiola's relationship with his Red
sister); then the right, the fascists and Mussolini revivalists, whom we see
when the fascist adventurer Nero (
brilliantly played by
an Iggy Pop lookalike) needs someone to launder his money; and finally, the
centre, the dominant party of acquiescent capitalists after the fall of
Mussolini, typified by Berlusconi. It is in the centre where the Banda (in
spite of its links to
NAR) and
their nemesis Inspector Scaiola exist. The Banda believe in money, Scaiola in
reason, together the two values uniting the centre faction: capital and law,
the means of enforcing capital. By contrast, the secret service seem like out-of-control puppet masters, unsure which marionette to play with more. According to
the producers, they played the Banda over Scaiola and the Right over the Left.
But they don’t want more money and, as far as we can tell, they don’t want a
second Duce.
The dichotomy between rifht and left resolved itself and the Years of Lead ended, but not before
85 people were blown up in Bologna. So, what of the era hinted at by the end of
the first series of
Romanzo? Governments
calmed down, or got better at covering themselves up. The populace was tired of
terrorism and pacified by the financial boom of the 1980s. Liberal markets triumphed
across most of the world in 1991; Kojeve’s end of history thesis came to
fruition. Francis Fukuyama updated it with an audacious piece of
backwards
clairvoyance. Markets opened up to freer trade. Governments trusted each
other to be more predictable than in the 70s and real political choice between
Red, Black and Centre was replaced with consumer choice. Companies, too,
reacting to legislation to better secure national income, sought to make revenues
more predictable, employing Black-Scholes and the personal computer to master
the future and conquer risk (suggested further reading: Galbraith’s
Affluent Society).
We live in a world a start-up
Banda would have dreamed of – the approval and promotion of crass materialism, the
ability to get-rich-quick and the chaos of globalisation as a smoke screen for
their underworld activity. If the NAR or the CPI had got into power, they would
have been toast.
More on the Banda:
http://en.wikipedia.org/wiki/Banda_della_Magliana