One of the underlying problems with Michael Cimino's film is that it makes the remarkable Sicilian countryside do too much of the narrative work. If you were to watch the film with the sound turned off -- saving you from the stilted dialogue and the gushy score -- you might think much better of the whole enterprise, so powerful is the photography of those rugged mountains and steep canyons. But everything is so visually splendid that it undermines any sense that the poor are actually suffering and starving out there. A travelogue does not always make for good storytelling. And, of course, the pan-and-scan version, the only one currently available on DVD, chops out most of the landscape, limiting the impact of the movie's visual achievement.

Another problem for Cimino's film is that there's actually a much better version of the same story from an earlier director. Few people seem to be aware of the earlier treatment. In 1962, the great Italian director Francesco Rosi released his superb version under the title "Salvatore Giuliano." It's in black and white, but gloriously so. The massacre of the peasants in Rosi's version is one of the most heartbreaking and dramatically memorable sequences in the history of Italian film. And throughout, the dark ambiguity of the main character remains consistently compelling, within a far more complex storytelling mode than Cimino's surprisingly straightforward Hollywood-inflected retelling. The Rosi film deserves to be much better known.

In keeping with one of the movie's subplots, I confess to being a total Cimino fan. I have loved the four films that I have bought on DVD and I believe he is a much underrated director.  I just finished The Sicilian several minutes ago and I, as opposed to the last commentators, loved the film, did not fall to the floor in hysterical laughter and did not think that Cimino wanted to become Scorsese in the worst way. I thought the script was thoughtful and one of the few films to confront the historical political skeleton hanging in every Italian closet--the skeleton of land redistribution and the ghosts that haunt,to this day, the society of old Italy. The people of Bologna and Emilia-Romangna understand this but the Scicilians still rely on the Mafia. Of course, everyone sees in a film that which they are programmed from childhood to see; for me, however, I saw a deeper film than other commentators saw and as a result, I watched a far better film--a film of great substance with the rough beauty of the Scicilian countryside and the Scililian cityscapes bared for all to appreciate. The historicity of Cimino's films produce a memorable panoply of substance, painted on a canvas of great beauty. I loved the actors and I loved all that they did on the screen; I applaud Cimino for his artistic brilliance. I am hugely saddened that there is nothing comparable in today's Hollywood cinema.