
Salvatore Giuliano
1962

1973
RDirector
Francesco Rosi
Runtime
110 minutes
Average Rating
No ratings yetSynopsis
Lucky Luciano is one of the bosses of the Mafia. He orders the slaughter of 40 other responsibles, therefore becoming the only boss. But a few years later he is put into jail. In 1946, he got a pardon and is sent back to Sicilia. There, he begins becoming one of the chief of the Mafia. The US Army seems to refrain from interfering.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film operates within a strictly heteronormative framework. The narrative focuses on patriarchal hierarchies and male-dominated criminal brotherhoods, with no discernible presence of LGBTQ+ characters.
Gender Representation
The film adheres to traditional gender hierarchies, focusing almost exclusively on male agency. Women are relegated to peripheral roles, serving as secondary figures to the central male-driven plot.
Racial & Ethnic Diversity
Rosi provides a nuanced depiction of the Italian-American and Sicilian immigrant experience. The film effectively explores the intersection of ethnic identity and socioeconomic mobility within the mid-20th-century underworld.
Religious & Cultural Diversity
The narrative offers a sophisticated critique of the corruption inherent in the relationship between organized crime, capitalism, and the state. It challenges the perceived integrity of Western legal and political systems.
Disability Representation
There is no significant depiction of physical or neurodivergent disabilities within the film's primary narrative arc.
Strengths
Areas for Improvement
AI Analysis
Lucky Luciano is a systemic study of power rather than a character study of individual morality. It succeeds in providing a deep, culturally specific look at the Italian diaspora and the mechanics of organized crime. However, the film is extremely limited in its demographic breadth. It functions within a rigid patriarchal structure that excludes women and LGBTQ+ identities from any meaningful agency or presence. Ultimately, the film's strength lies in its intellectual subversion of institutional authority, which compensates for its lack of traditional social diversity.

1962

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1949

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2010
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