The dense seventies, the Piazza Fontana massacre, the case Pinelli and
more, end up in a movie that risks mixing chronicle and social
criticism with the themes of poliziottesco.
A difficult balance to keep, for a movie that is difficult to
understand for those who, like us, didn't see those years, but have
only studied and / or seen on the big screen. In such cases, we like to
read the archives of the newspapers and the reviews of the time trying
to figure out how the society was in that moment and how the film was
received. With "The Police Cannot Move" is a very interesting research,
because Luciano Ercoli, died a couple of months ago, although he
wasn’t a specialist of the genre, creates a series of tough
"La Stampa" a moderate newspaper, about this film wrote that it is
"irrational" and that "it's not enough to end the story by saying that"
The Police Can not Move""therefore can not act implying that
politicians don’t want justice. A so important words hasn't value
unless are supported by a solid movie. In fact, the characters are
dummies, not characters. The acting is unsatisfactory ".
From the left "L'Unità" wrote much heavier words "The police
groping in the dark, or rather lets out with unforgivable clumsiness
several appointments with the culprits. The truth will never be offered
to the protagonists of the film and the rest will not even be rewarded
the patience of the viewer unexpectedly intrigued. Why? The death of
ninety percent of the characters is called to ensure the virginity of
the enigma, and we could only guess that the strategy of tension
conceived from above has no color or immediate prospects. As it
happens, however, the emissaries of terror are young drug addicts and
offbeat prefer the democratic clothing. (...) Its vulgar intentions,
however, does not seem supported by the necessary boldness and the hash
fall in the incongruous ".
It's not easy to displease all and we regret not having found a review
of a right-wing newspaper, but Ercoli succeeds in this "enviable"
intent accusing the one hand the secret services diverted and on the
other describing criminals as young drug addicts with long hair (some)
that dress Parka. At the end is hard to say which side is this movie,
perhaps the director sought a neutral path, following the smoky
investigations of Piazza Fontana, putting in just the secret services
and youth antagonists, forgetting, to tell the truth, the fascists (the
real culprits) relegated to a joke "are fascists who put bombs" said by
a passenger on a tram.
A work of an accusatory system state diverted, but does not hit
remaining relegated to chapter, although a bit 'different from the
usual, the poliziottesco.
Claudio Cassinelli is Commissioner Matteo Rolandi, a policeman less
iron than other colleagues at poliziottesco, more ironic, perhaps
disillusioned, that find himself in a hotel in Milan when a bomb
explodes. An attack there is no doubt. His trusted collaborator Luigi
Balsamo played by Franco Fabrizi, few hours after finds the suspected
bomber. The next day, however, Balsamo is killed, thus initiating a
series of strange events, of suspicious deaths that prevent the law to
shed light on the incident. Rolandi slowly sniffs something and decide
to handle investigations independently. At times a bit 'slow' this
movie shows some moments of good direction and the usual excellent
music by Stelvio Cipriani.