To blame for the death of their colleagues, are indiscriminately arrested students before the arrested at the beginning of the demo Massimo Trotti (Luigi Diberti) is presented as Hauptverdächtigter. Judge Sola (Martin Balsam) gets transferred to the investigation, unaware that his son is the real culprit ...
When Mauro Bolognini took 1972 the issue of student protests, were the conflicts between the Representatives of the state, did a great bourgeois majority behind him, and the most youthful opposition, long trains relentless adopted. While the demonstrators were classified as left-wing anarchists, these citizens were automatically as fascists - not surprisingly, that specific issues like the Vietnam War or the teacher - situation at the universities could not be discussed constructively. "Imputazione Tues omicidio per uno studente (murder charge against a student) seemed to have the light of these events, not about the immediate relevance, the distinguished films, including Ugo Pirro previously wrote the screenplay. Beginning in 1967 with Elio Petri "A ciascuno il suo" (two coffins to order), Damiano Damiani on "Il giorno della Civetta (The Day of the Owl), 1969, and another two films Elio Petri - "Ingadine su un cittadino al di sopra Tues ogni Sospetto" (investigation against an above suspicion citizens) and "La classe oparaia va in paradiso" (The working class comes to Paradise) 1970 and 1971 - Bologninis film is about the student protests that ended a series of highly controversial, both written by Pirro political films. But while Elio Petri Damiani and film were created using mafia-like structures in politics very pessimistic, and Petri's later films by their acrid, sometimes exaggerated look distinguished, Bologninis film from today's perspective, unspectacular acts and reserved. Even the historical film "Il Giardino dei Finzi Contini (The Garden of the Finzi Contini), the Pirro together with Vittorio De Sica between Petri movies designed, looked in his social criticism more relevant, why" Imputazione Tues omicidio per uno studente, "the also the only one of the aforementioned films won no prize, remained virtually unknown until today.
For analysis of the staging system, combined with the circumstances of the time during the time of origin of the film, which is understandable, but is nonetheless unjustified because Pirro and Bolognini dared something for their time monstrous - an objective, conscious balanced view on a situation that not only much of focus in the population stood as the political issues of the other films, but has been accompanied by extreme postures. Used only at the beginning "Imputazione Tues omicidio per uno studente" typical images, as it shows the escalation of student protest, in a deadly confrontation between police and students flows. In the end there are two dead - a murdered student and a slain police officer - but not for a moment, the film can create the impression of deliberate action. The young student of architecture Fabio Sola (Massimo Ranieri) had, after he had to watch as his fellow student, died in the heat of a blow ring arrested and taken to a blind police officers, but also the fatal bullet had been previously lodged not targeted.
After this first - accompanied by Ennio Morricone's great music - scenes of the film remains over its entire term in a quiet, very intense conversation mode, which in any action or pointed Moments waived at any time and still exciting. Pirro and Bolognini focus on a father - son - conflict, which is mainly borne Martin Balsam, who not only acts as the investigating judge Aldo Sola, but in particular as Fabio's father. It is obvious that this microcosm - should be representative of the generation gap - free from the usual stereotypes. Both balsam and Ranieri manages convincingly to emphasize their affiliation to the respective social group, without falling in their confrontation in excessive aggression and sycophancy.
Also, their respective background is of similar distinction. Although it has been noted with Massimiliano Trotti (Luigi Diberti) a student, accused of murdering the policeman, but as a judge Sola professional begins to question the police investigation, aggression within the troop will be felt. For a moment, springing up the impression that it could be dangerous for the judge - how often in the Italian political thriller - but in conspiracies, the film has no interest. On the contrary, the ambitious and to have made his dislike of the students no secret-making Commissario Cottone (Pino Colizzi), which is increasingly coming under suspicion himself shot the moderate older Commissario Malacarne (Turi Ferro) compared with that this refers several times in his place. Always the police work remains to be balanced between anger at the students and the increased interest to present soon a scapegoat, and a possible objective investigations. Auc hours at the student does not dispense Bolognini on describing their tactical calculations. As Fabio wants to make him the other students from doing so. For them it is an advantage that an innocent person actually sits behind bars, for they may use the state power to attack more convincing as a confessed "murderer" would be a godsend for the press to portray the student protests as a criminal. In addition to this procedure, but always their peaceful, apparently left by a clear political stance embossed commitment that drives them. The representation of residential communities and a hint of a freer sexuality end up with no sensationalist view. Even the feelings that Fabio has for Carla (Petra Pauly), are not exploited, but remain marginal.
This conscious decision to avoid controversy and a superficial sympathy garnered, the film not only no support from any political side, but continued also to the suspicion to have no view on what is would have to confirm by the apparent indecision of the end. But the film actually showed courage when he freed the issue of conventional ideology and focused on the generation gap that needed to get the phase of reconstruction after World War 2 and was the trigger for the protests ultimately. It is also wrong to suggest that the film is no clear position, only because he refrained from political statements. On the contrary, he tried thus only to withdraw the usual ideological suspicions, but from his view that society must change, he made no secret.
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