Gian Maria Volonté
1933 - 1994In Italy and much of Europe, he was notable for his roles in high-profile social dramas depicting the political and social stirrings of Italian and European society in the 1960s and 1970s, including four films directed by Elio Petri - We Still Kill the Old Way (1967), Investigation of a Citizen Above Suspicion (1971), The Working Class Goes to Heaven (1971) and Todo modo (1976). He is also recognized for his performances in Jean-Pierre Melville's Le Cercle Rouge (1970) and Giuliano Montaldo's Sacco & Vanzetti (1971).
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Investigation of a Citizen Above Suspicion
Elio Petri
Gian Maria Volonté, Florinda Bolkan
Rome, Italy. After committing a heinous crime, a senior police officer exposes evidence incriminating him because his moral commitment prevents him from circumventing the law and the social order it protects.
Investigation of a Citizen Above Suspicion
A Fistful of Dollars
Sergio Leone
Clint Eastwood, Marianne Koch
The Man With No Name enters the Mexican village of San Miguel in the midst of a power struggle among the three Rojo brothers and sheriff John Baxter. When a regiment of Mexican soldiers bearing gold intended to pay for new weapons is waylaid by the Rojo brothers, the stranger inserts himself into the middle of the long-simmering battle, selling false information to both sides for his own benefit.
A Fistful of Dollars
Le Cercle Rouge
Jean-Pierre Melville
Alain Delon, Bourvil
When French criminal Corey gets released from prison, he resolves to never return. He is quickly pulled back into the underworld, however, after a chance encounter with escaped murderer Vogel. Along with former policeman and current alcoholic Jansen, they plot an intricate jewel heist. All the while, quirky Police Commissioner Mattei, who was the one to lose custody of Vogel, is determined to find him.
Le Cercle Rouge
L'armata Brancaleone
Mario Monicelli
Vittorio Gassman, Catherine Spaak
A group of rogues steal a scroll granting its bearer the property of the land of Aurocastro in Apulia, a province in the south of Italy. They elect a shaggy knight, Brancaleone from Norcia, as their leader, and decide to get possession of this supposedly wealthy land. Many adventures will occurr during the journey.
For Love and Gold
Cristo si è fermato a Eboli
Francesco Rosi
Gian Maria Volonté, Lea Massari
In the fascist Italy of 1935, a painter trained as a doctor is exiled to a remote region near Eboli. Over time, he learns to appreciate the beauty and wisdom of the peasants, and to overcome his isolation.
Christ Stopped at Eboli
The Mattei Affair
Francesco Rosi
Gian Maria Volonté, Luigi Squarzina
Enrico Mattei helped change Italy’s future, first as freedom-fighter against the Nazis, then as an investor in methane gas through a public company, A.G.I.P., and ultimately as the head of ENI, a state body formed for the development of oil resources. On October 27, 1962, he died when his private airplane crashed during a flight to Milan. Officially, it is declared an accident, but many journalists explore other plausible reasons for Mattei's untimely death.
The Mattei Affair
Uomini contro
Francesco Rosi
Mark Frechette, Alain Cuny
Time after time, soldiers of the Italian Army are forced to leave their mountain trenches in attempts to storm an enemy fortress, always with the same disastrous results. As casualties mount, indignation spreads among the rank and file. Disturbed by his superiors' decisions, Lieutenant Sassu is led to question the purpose of war and reconsider where his real duties lie.
Many Wars Ago
The Four Days of Naples
Nanni Loy
Gian Maria Volonté, Aldo Giuffrè
September 1943. After Italy surrenders to the Allies, most people in Naples believe the war is finally over, but soon realize Germans are still in control—and as ruthless as ever. Armed with makeshift weapons, the Neapolitan civilians spontaneously rise up en masse against their occupants—and overwhelming odds, driving them from the city after four days of fighting.
The Four Days of Naples
Todo modo
Elio Petri
Gian Maria Volonté, Marcello Mastroianni
Set during a retreat of Christian Democrat politicians who practice spiritual exercises together, it is an allegory of corrupted power. Disturbing, claustrophobic settings are the background to a series of mysterious crimes.
One Way or Another
Slap the Monster on Page One
Marco Bellocchio
Gian Maria Volonté, Fabio Garriba
1972, Milan. Just a few days before the general elections, a young girl from an esteemed family is raped and murdered. Bizanti, editor-in-chief of a conservative newspaper, tries to derail the official police investigation in order to help the right-wing candidates supported by his boss to win the elections.
Slap the Monster on Page One
Il taglio del bosco
Vittorio Cottafavi
Gian Maria Volonté
With the participation of the inhabitants of Tirli (GR). RAI television film, based on a short story (1954) by Carlo Cassola and scripted by Marcello Fondato and Giuseppe Lazzari, filmed on location, aired on 19-9-1963. It is the simple story of a group of woodcutters in the Grossetano area with their problems, individual stories, small and big intimate dramas. It is a film with a Rossellini-style realist slant where, without falling into scenicism, the importance of the landscape is combined with the psychological subtlety of the characters and the lucid and critical description of their behaviour. "A phenomenological film that manages to introduce, in the objectivity of the realistic vision, a disturbing moral dimension" (G. Rondolino).
Timber Cutting
Ipotesi sulla morte di G. Pinelli
Elio Petri
Giancarlo Dettori, Luigi Diberti
After a wave of arrests in 1969, Italian anarchist Giuseppe Pinelli allegedly falls out of a police building window while being interrogated. The circumstances leading to his death are re-enacted in three hypothetical versions in this attempt at counter-investigation.
Ipotesi sulla morte di G. Pinelli
Io ho paura
Damiano Damiani
Gian Maria Volonté, Erland Josephson
During a wave of political violence in Italy, a policeman who's already survived an assassination is assigned to act as a bodyguard to a morally upright judge. He feels increasingly fearful as the links of the upper echelons of police and government to the violence become clear.
I Am Afraid
