Carlo Lizzani's Il gobbo (1960): A cinematic exploration of socially 'engaged' post-war criminality

Abstract

This article traces Carlo Lizzani's depiction of the changing nature of Italian society from the Second World War to the post-war era, his film Il gobbo/The Hunchback of Rome highlighting the different fates of individuals who attempt to integrate themselves within the evolving social structure. It will be argued that the director uses a range of emotional and intellectual strategies in the film, in particular the action and visual sensationalism that were typical of contemporary American cinema, to compel viewers into vividly experiencing the destiny of these individuals and to appreciate the socio-political implications of Lizzani's often disturbing cinematic representation of this historical context. Of importance in this regard are the techniques that the director uses to elicit identification and empathy on the part of viewers with the film's characters: this study will discuss Murray Smith's concepts of viewer alignment and allegiance in the context of criminal characters such as the Hunchback, the film's protagonist.

Keywords:

• CARLO LIZZANI
• CRIME FILMS
• NEOREALISMO NERO
• IDENTIFICATION THEORY
• MURRAY SMITH