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ECoSySTEM MICHAEL COVINO L A MAL AVITA : GOMORRAH AND NAPLES Our first night in Naples, a little past midnight, my wife and I were woken by several gunshots, followed by a woman screaming in English, “He’s still alive! He’s still alive!” We looked out the eighth-floor window of our hotel, as did many of the residents of the apartment high-rise opposite us, and waited for the anticipated sirens and flashing police lights. After all, we were only a block from the downtown police headquarters near the Bay of Naples—the police headquarters that, in Midnight in Sicily (Vintage, 1996), Australian journalist Peter Robb described as built by Mussolini “in fascist modernist monumental style, [and among] the city’s only decent new buildings in the last hundred years.” Yes, high praise indeed: Mussolini gave Naples some of its only decent architecture. But then architecture—or the brutal lack of decent or hospitable architecture—is what Naples, and by extension Gomorrah, are about. That happened some eight years ago when my wife and I vacationed in southern Italy. At that time my main filmic reference for Naples was native Francesco Rosi’s great Hands Over the City (1963), a frenetic nightmare about political corruption

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La Malavita: Gomorrah and Naples

Covino, Michael
Film Quarterly , Volume 62 (4)
University of California PressJun 1, 2009

More Info

  • Publisher University of California Press
  • Copyright © 2009 by the Regents of the University of California.
  • Subject Departments; Ecosystem
  • ISSN 0015-1386
  • eISSN 1533-8630
  • D.O.I. 10.1525/fq.2009.62.4.72
  • Publisher site Get PDF  

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