The Sicilian (film)
| Company type | Film |
|---|---|
| Industry | Motion picture |
| Founded | 1987 |
| Founder | Michael Cimino (director) |
| Products | Film adaptation of Mario Puzo's 1984 novel The Sicilian |
The Sicilian is a 1987 epic historical crime film helmed by director Michael Cimino. The screenplay, initially adapted by Steve Shagan and subsequently revised by Cimino alongside Gore Vidal, is based on Mario Puzo's 1984 novel. The movie features Christopher Lambert portraying Salvatore Giuliano, the infamous outlaw who endeavored to free 1950s Sicily from Italian governance. Supporting roles include performances by Terence Stamp, Joss Ackland, John Turturro, and Barbara Sukowa.
Plot
In the early 1950s, Salvatore Giuliano, a celebrated bandit, commands a guerrilla faction with the goal of liberating Sicily from Italian rule and transforming it into an American state. He targets affluent landowners, redistributing wealth to peasants, which bolsters his popularity and fuels his pride. However, when he opposes his Mafia patron, Don Masino Croce, the latter convinces Giuliano’s cousin and confidant, Gaspare "Aspanu" Pisciotta, to carry out an assassination against him.
Development
After the triumph of The Godfather, author Mario Puzo obtained $1 million for the film adaptation rights to his novel The Sicilian. At that time, David Begelman, heading Gladden Entertainment, appointed Michael Cimino as director. Although the novel featured the character Michael Corleone, contractual limitations barred his inclusion in this adaptation. Cimino reportedly received a $2.5 million fee from the total $8.5 million production budget.
Producer Bruce McNall highlighted Cimino’s dissatisfaction with the existing script and Begelman’s influence over casting decisions. Initially, Cimino preferred Daniel Day-Lewis for the protagonist after viewing his performance in The Bounty, but producers opted for Christopher Lambert due to Day-Lewis’s lesser fame at that time. Cimino later expressed regret about this casting decision. Despite concerns regarding a French actor playing an Italian hero in an English-language feature, Begelman granted Cimino creative freedom to move forward with production.
After unproductive discussions with screenwriter Steve Shagan, Cimino undertook substantial rewrites of the script in collaboration with novelist Gore Vidal. Shagan conceded that Cimino’s final screenplay departed significantly from his original draft. Vidal confirmed that in 1986 Cimino submitted a script he had personally penned. Subsequently, Vidal initiated legal action against Shagan and the Writers Guild of America over screenplay credit disputes, alleging misappropriation of his contributions; he prevailed in this lawsuit. Cimino later acknowledged Vidal’s valuable input during their joint work.
Shooting
Principal photography took place on location in Sicily throughout spring and summer of 1986. By late April, producers Begelman and McNall observed that the production was exceeding its budget and falling behind schedule, primarily due to staffing and equipment complications—though these issues were less severe compared to those faced during Cimino's Heaven's Gate. A significant obstacle involved local Mafia figures who controlled certain filming sites and union labor. Following Cimino’s advice, producers met with these individuals, who then secured minor roles and extra work on set; this arrangement facilitated smoother access to locations and workforce.
To prepare for their characters, Christopher Lambert and John Turturro dedicated two and a half months to horseback riding training in Sicily. Lambert later commended Cimino as an exceptionally gifted director who struggled with delegation, resulting in intense dynamics during filming. Despite difficulties, shooting wrapped only slightly over budget, with insiders noting it was not an excessively troubled production.
Post-production
Following the completion of filming, Cimino proceeded with editing in private and presented a 150-minute version without consulting the producers. His contract allowed him final cut privileges only if the film’s duration remained below 120 minutes. Cimino maintained that no further reductions were feasible and urged Begelman and McNall to submit this cut to 20th Century Fox, the film’s domestic distributor. However, Fox executives rejected this length due to its impact on the number of daily screenings, insisting on a shorter version.
Upon receiving this feedback, Cimino initially resisted making changes but eventually delivered a two-hour and five-minute cut that omitted all action sequences, including a significant battle scene following a wedding. Begelman immediately disputed this edit, though Cimino asserted it complied with his contractual final cut rights. Begelman suspected this approach was a strategic move to compel Fox into accepting the longer version.
Lawsuit
After reaching an impasse with Cimino, the producers initiated arbitration proceedings. McNall remarked, "Each day without a completed film resulted in financial losses for us and our partners—Fox and Dino De Laurentiis." The producers were represented by Bert Fields, who referenced a prior case involving Warren Beatty and final cut rights on Reds. While Cimino’s legal team defended the validity of his 120-minute cut, McNall accused him of acting in bad faith regardless of contractual terms.
Dino De Laurentiis testified as an expert witness. Although he had previously supported Cimino's final cut rights on Year of the Dragon and recommended him for The Sicilian, De Laurentiis denied having granted such rights for this film. A concealed side letter confirmed this position, and Fields argued that Cimino had deceived the producers by withholding it. The court ruled in favor of the producers, after which Begelman personally reduced the film’s length to 115 minutes.
Release
The Sicilian premiered on October 23, 1987, opening in 370 theaters nationwide. It debuted at number seven at the box office, earning $1.72 million with an average of $4,649 per theater. The total domestic gross eventually reached $5.4 million.
The Los Angeles Times reported a rapid decline in audience interest despite a strong initial turnout. According to McNall, financial losses from The Sicilian were balanced by profits from Gladden’s other 1987 release, the hit film Mannequin.
Reception
Critical reviews were predominantly unfavorable, highlighting a confusing storyline, unclear visuals, and Lambert’s portrayal of Giuliano as problematic. Critics Gene Siskel and Roger Ebert both gave negative assessments; Ebert criticized poor cinematography while Siskel took issue with Lambert's acting. Ebert compared this film unfavorably to Cimino’s earlier acclaimed works such as The Deer Hunter.
Vincent Canby of The New York Times described it as a "confused summary" of Puzo's novel despite occasional striking imagery. Variety observed that Cimino’s attempt at operatic storytelling did not clearly align with either European art cinema or Hollywood traditions. Hal Hinson from The Washington Post called it "undeniably terrible" yet grandiose in scale. Leonard Maltin rated it a "BOMB," labeling it a "militantly gloomy biopic."
Producer McNall expressed disappointment, having anticipated a film capturing the drama and emotional depth found in Puzo’s The Godfather. He agreed with Ebert’s assessment citing numerous technical shortcomings.
Richard Brody of The New Yorker noted that while Cimino’s vivid visual style persisted, the movie reflected a crisis in cinematic vision—a substitute for a larger project he was unable to complete.
Stuntman Vic Armstrong, who worked on the production, remarked on the puzzling disconnect between such a strong script and its disappointing final outcome.
On Rotten Tomatoes, The Sicilian holds a 10% approval rating based on 20 reviews. In contrast, the 2016 director's cut received considerably more favorable critical recognition and is often viewed as an underrated entry within Cimino’s body of work.
Alternative versions
A 146-minute director's cut was made available in French theaters and can be found on VHS, DVD, and Blu-Ray in the United States, as well as on region 2 DVD across Europe.
Upon its debut in Paris, this edition received a mixed critical response. Maltin awarded the director's cut two stars out of four, acknowledging enhanced narrative clarity and a more prominent role for Barbara Sukowa, yet he criticized Cimino's absence of humor and found Lambert's acting to be rigid.
Film critic F.X. Feeney, who maintained a close friendship with Cimino, commended this version in L.A. Weekly. He pointed out that Fox's original edit excised substantial material, including key scenes and dialogue. Feeney contended that studio interference negatively impacted Lambert's portrayal and led to Sukowa's voice being dubbed. He hailed The Sicilian as "a masterpiece" and regarded it as the finest film of 1987.
Gore Vidal characterized the initial cut as "a lovely movie" with imperfections but intended to function as a fairy tale rather than strict realism, underscoring its mythical depiction of Giuliano.
See also
- Salvatore Giuliano, a 1962 Italian production directed by Francesco Rosi.
- Salvatore Giuliano, an Italian opera from 1986 composed by Lorenzo Ferrero
Bibliography
Further reading
External links
- The Sicilian on MichaelCimino.fr (French)