
We Still Kill the Old Way
1967

1962
Not RatedDirector
Bernardo Bertolucci
Runtime
91 minutes
Average Rating
No ratings yetSynopsis
Roman police detectives interrogate a series of potential perpetrators in their struggle to determine whom to arrest for the brutal murder of a beautiful prostitute whose body is discovered in a park on the day of a torrential rainstorm. One by one, the prime suspects -- girl-crazy teenager Nino, pickpocket Canticchia, a soldier on leave, a tourist and a pimp -- recount the events of the day to the police, each insisting he is innocent.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film lacks any discernible presence of non-cisnormative identities. The narrative focuses on a male-dominated interrogation process and a female victim within traditional social structures.
Gender Representation
Women are depicted through the lens of their vulnerability within a rigid provincial hierarchy. The film explores the communal policing of female behavior but lacks female characters with dominant agency.
Racial & Ethnic Diversity
The cast is a homogeneous group of local, working-class residents. It reflects the demographic reality of 1960s rural Italy but lacks racial blending or minority perspectives.
Religious & Cultural Diversity
The film offers a subtle critique of traditional social hierarchies. It presents provincial structures as stifling and restrictive rather than cohesive moral units.
Disability Representation
There is no evidence of characters with visible or invisible disabilities. No such characters are utilized as central plot devices or depicted with specific agency.
Strengths
Areas for Improvement
AI Analysis
Bernardo Bertolucci’s early work functions as a sociological character study of Italian provincialism. The film excels at deconstructing social hierarchies and examining the friction between individual agency and communal tradition. It provides a skeptical view of established social institutions. However, the film remains limited by the era's social norms, lacking intersectional markers like LGBTQ+ identities or racial diversity. The narrative is a closed loop of local, working-class residents, which limits its broader demographic scope. Ultimately, the film's strength lies in its nascent critique of systemic social structures rather than its representation of diverse identities.
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