We Still Kill the Old Way

We Still Kill the Old Way (Italian: A ciascuno il suo) is a 1967 Italian crime drama film directed by Elio Petri, based on the novel 'To Each His Own' by Leonardo Sciascia. The film stars Gian Maria Volontè, a prominent actor known for his roles in political cinema in Italy during the 1960s and 1970s. The movie blends elements of mystery, crime, and social commentary, offering a critical look at Sicilian society and the endemic corruption and violence that characterized it at the time.

The story unfolds in a small Sicilian town where the quiet life of the community is shattered by a double homicide. The movie follows the protagonist, Professor Paolo Laurana (played by Volontè), who is an intellectual and a high school literature teacher. Laurana is not a typical hero; he is a somewhat meek and unassuming figure but with a strong sense of justice and morality. He becomes unwittingly involved in the investigation of the murders purely out of a sense of curiosity and the unsettling realization that the true motives behind the crimes might be lurking beneath the surface of his seemingly peaceful town.

The victims are a well-respected pharmacist and a close friend of his, who are discovered shot to death while out hunting. At first glance, the murders seem to be the result of an affair gone wrong, but Laurana suspects there is more to the story. His intuition leads him to delve deeper into the case, uncovering a tangled web of secrets, lies, and criminal activities that reside within the social fabric of the town.

The title "We Still Kill the Old Way" reflects the undercurrent of tradition within the community, where old vendettas, codes of honor, and a culture of silence remain prevalent. It suggests a society at odds with itself, attempting to move forward into the modern era while still clinging to its archaic methodologies and values. The film explores themes of justice, power, and morality, as Laurana's investigation forces him to confront the unsettling truth about the complicity of ordinary people in the face of injustice.

Gian Maria Volontè's performance as Laurana is nuanced and compelling. His transformation from a disillusioned academic to a determined seeker of truth drives the narrative and provides a vessel for the audience to navigate the complexities of Sicilian society. His portrayal brings depth to Laurana, allowing viewers to empathize with his moral dilemmas and share in his incremental realization of the pervasive corruption in his community.

Director Elio Petri is known for his work in the thriller genre, and in We Still Kill the Old Way, he employs a deliberate pace and a sense of creeping tension that keeps viewers engaged. His craftsmanship is evident in the way he captures the Sicilian landscape, using it to heighten the atmosphere of mystery and unease. The scenic beauty contrasts with the ugliness of the crime, emphasizing the disconnect between appearance and reality.

The film is also notable for its use of symbolism and metaphor. The barren Sicilian landscapes, the closed facades of the townspeople's homes, and the veiled conversations all serve as reflections of the hidden machinations and power structures at play. The script, co-written by Ugo Pirro and Petri, is tight and precise, avoiding melodrama in favor of a more restrained and impactful narrative.

Laurana's journey is not simply about solving a crime but is a representation of an individual's confrontation with the systemic nature of violence and the difficulty of achieving justice in a world where silence is often complicit. The decisions he makes and the challenges he faces highlight the complexities of standing against a collective will that is resistant, or even hostile, to change.

We Still Kill the Old Way was well-received by critics for its intelligent script, compelling performances, and its critical take on Italian society. It stood out for its departure from the sensationalism of traditional crime movies of the time, providing instead a poignant commentary on the human condition and the cost of truth-seeking in a corrupted world.

Overall, the film is a compelling piece that combines the intrigue of a whodunit with deep social commentary. It stands as a testament to Gian Maria Volontè's remarkable acting abilities and Elio Petri's skill as a filmmaker. It is not just a crime film, but a thoughtful exploration of a society struggling with its identity, ensnared by the vestiges of its past and yearning for a brighter, more honest future.