University of Virginia Library

'Sicilian Clan' At BR

By Paul Chaplin
Cavalier Daily Staff Writer

If you can have an Italian direct
a movie about Ukrainia, why not
have a Frenchman make a film
about Sicilians? Such is the case
with "The Sicilian Clan." But then
the French have a noble tradition
of "gangster" films - including
"Shoot the Piano Player," and
"Breathless."

Simply, the plot concerns a
French criminal who needs help to
pull off a jewel heist. He turns to a
noted Sicilian living in Paris and his
large "family" for assistance.
Further explanation robs one of the
enjoyment of guessing and
outwitting both the cops and
robbers.

The jewels, however, are not in
Paris, but in Rome and they don't
stay there very long before they're
in New York. At times, such
changes of locale may be confusing,
but anyone who can comprehend
"Mission: Impossible" will know
when he is in Rome or not.

In fact, "The Sicilian Clan" has
obvious influences from both James
Bond films and "Mission." The
hero, played by Jean Gabin, is
occasionally found with a lady; the
clan uses a few modern electrical
gadgets and a highly complex series
of innocent "accidents" to preserve
their cover-ups. The big difference
between the spy film and "The
Sicilian Clan" is a matter of
identification - the forces of civil
are the heroes and infinitely more
intelligent than the police of Rome,
Paris, and New York.

This change of audience loyalty
is one reason why I found the film
enjoyable. Another nice thing is
writer-director Henri Verneuil's
ever so slow development of the
story. The first forty-five minutes
of the film is an introduction to the
clan and their lifestyle. The next
hour is devoted to the actual jewel
theft, and the remaining fifteen
minutes form the expected
conclusion, the police finally
apprehending the thieves, after the
tip off.

I have one reservation about
"The Sicilian Clan:" I am still not
certain if it was meant to be taken
seriously or not. While I watched
the film, I was totally absorbed
with it, yet the musical
accompaniment was not always in
conjunction with the action on the
screen. Little electronic pops and
pings during a chase scene do not
make me feel like I'm viewing a
suspense thriller. Mr. Verneuil has
perhaps pulled the biggest and most
interesting crime of a filmmaker -
making a film that you can take
either way.

(Now at the Barracks Road)