“Adagio”, directed by Stefano Sollima, is an epic slow-burn crime thriller that lives up to its Italian translation of “slowly”. Sollima, known for his work on the acclaimed TV series “Gomorrah” and “ZeroZeroZero”, as well as Hollywood films like “Without Remorse” and “Sicario: Day of the Soldado”, brings his distinctive style to this film. Set in the lesser-seen parts of Rome, “Adagio” is filled with ambience and features strong performances from Italy’s top actors: Pierfrancesco Favino, Toni Servillo, and Valerio Mastandrea. While the film lacks a gripping and original plot, as well as enough dazzling set pieces, it still delivers a compelling viewing experience.
Premiering in competition at the Venice Film Festival, “Adagio” is likely to be a local hit in Italy. Sollima brings a Michael Mann-style cops-and-robbers drama to the big screen, a rarity for Italian cinema. However, it may struggle to make a splash overseas. Nevertheless, Sollima’s skillful direction may open doors for him to work on larger international projects.
The story takes its time to unfold, with a gun not being drawn until the 30-minute mark. The first hour of the film is dedicated to introducing the main characters: Manuel, a teenage hip-hop enthusiast who is on a dangerous undercover mission, and Cammello, a former thug who becomes entangled in their mess. Sollima keeps the audience guessing about the relationships between these characters, gradually revealing their connections throughout the second act. While this approach offers some rewards later in the film, it makes it difficult to fully invest in the story from the beginning. Additionally, the opening sequence, featuring a massive wildfire and a nightclub infiltration, establishes a compelling atmosphere but fails to grip the audience.
However, Sollima and cinematographer Paolo Carnera deliver impressive visuals in the third act. The finale, set in Rome’s Termini station during a city-wide chaos, showcases Sollima’s talent for staging gritty and realistic action. From the rundown apartments to the gripping stations, the film captures the heat and intensity of the surroundings. Favino and Servillo’s performances in a climactic showdown between their respective characters further demonstrate their acting prowess, reminiscent of the iconic face-off between Al Pacino and Robert De Niro in “Heat”. However, the weaker narrative momentum in “Adagio” undermines the impact of these strong performances.
Despite its flaws, the film does build towards a satisfying ending where each character gets what they deserve. Themes of corruption and the blurred lines between cops and crooks are prevalent throughout the story, aligning with Sollima’s earlier work on “A.C.A.B. — All Cops Are Bastards”. Women, however, are notably absent from the narrative.
One of the strengths of the film is its use of Roman locations that are not commonly seen in mainstream cinema. Sollima presents the city’s ugly underside, which is a distinctive feature of his work. These locations become as integral to the story as the characters themselves, highlighting their brokenness and inevitable failures.
In conclusion, “Adagio” is a slow-burn crime thriller that showcases Sollima’s style and features strong performances from its cast. While it may lack a gripping plot and dazzling set pieces, it still offers a compelling viewing experience. The film’s local success in Italy may pave the way for Sollima to tackle larger international projects in the future.
