While on the Subject of Italian Cinema: Salvo
I adore fairy tales and have never really grown up from that joy I felt as a child, listening to my grandfather read me stories by the Brothers Grimm or watching the Disney videos that my parents put on for me, whenever they needed some time alone.
But these days I require a little more heft, turmoil and character development than Cinderella to make me believe. And that’s where Fabio Grassadonia’s and Antonio Piazza’s touching drama Salvo seamlessly comes in.
The Merriam-Webster dictionary defines the word ‘Salvo’ as “a simultaneous discharge of two or more guns in military action or as a salute.” In Sicily, where the film takes place, it’s a nickname for those named Salvatore and in Italian the word means “safe, unharmed”. The filmmakers clearly meant to include a bit of that, and perhaps none at all, in their title.
More importantly, Salvo is one of those films that stays with you long after viewing it, deep inside your heart, vivid in your mind. Its images haunting, the acting impeccable — by the talented, spellbinding Sara Serraiocco as Rita and quite possibly the best actor in world cinema today Saleh Bakri, as Salvo. The plot, one of those beautiful cinematic premises that you simply have to throw yourself into wholeheartedly to fully enjoy the film. I did, and so I did. Salvo left me breathless.