Dog Day Afternoon
by Sidney Lumet (1975)
Three small-time criminals attempt a bank robbery in Brooklyn but soon are left with only two, and things become enormously complicated.
Quote.
“𝘚𝘪𝘢𝘮𝘰 𝘳𝘦𝘥𝘶𝘤𝘪 𝘥𝘢𝘭 𝘝𝘪𝘦𝘵𝘯𝘢𝘮 𝘦 𝘱𝘦𝘳 𝘯𝘰𝘪 𝘢𝘮𝘮𝘢𝘻𝘻𝘢𝘳𝘦 𝘯𝘰𝘯 𝘷𝘶𝘰𝘭 𝘥𝘪𝘳𝘦 𝘯𝘪𝘦𝘯𝘵𝘦. 𝘏𝘢𝘪 𝘤𝘢𝘱𝘪𝘵𝘰 ?”
(𝐒𝐨𝐧𝐧𝐲)
22 𝐀𝐔𝐆𝐔𝐒𝐓 1972.
It’s not just a robbery.
And it’s not just the story of Sonny and Sal.
It’s much more.
It’s a pretext, a way to give voice to the existential discomfort of a generation devastated by the Vietnam conflict, which finds itself adult, frightfully disoriented, and poor.
A generation that no longer believes in political proclamations and mass media and wants to scream its malaise, demanding what it is rightfully owed: a piece of well-being, a purpose, a future.
And so Sonny becomes a symbolic character who positions himself at the center of the scene with all his virtues and flaws, so real and passionate, suddenly a protagonist ready to claim his survival at any cost.
Considerations.
Sidney Lumet draws inspiration from a news event and creates a film that rightfully deserves a place among the great classics.
An iconic title, very famous, that has become part of the collective imagination and won an Oscar for Best Original Screenplay in 1976.
Al Pacino is as talented as he is pleasing to watch. A remarkably talented actor who here gives us one of his best performances, bringing countless nuances to the character of Sonny, making him extraordinarily human. One of the greatest living actors.
Majestic, unattainable, absolutely perfect.
Alongside him, the ever-missed John Cazale: his dark, sad eyes, shimmering with a constant gleam that speaks more than a thousand words, and his long silences interrupted by sudden and nervous bursts.
Another extraordinary actor who unfortunately left us too soon.
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