Documentary Review: Italian photographer survives “Shooting the Mafia”

Shooting the Mafia - Still 3

She didn’t take up a camera until she was 40, and became, she says, “the first woman (news) photographer in Italy.”

But it’s where Letizia Battaglia took up her art and trade and who she pointed her camera at that have made her famous.

“Shooting the Mafia” is about her decades-long quest to document the crimes of “La Cosa Nostra,” the Mafia, in her native Sicily in the blood-stained capital of Salerno.

When she started taking those photos, first for the local newspaper, L’ora del Popolo” (“The Hour of the People”) that she was “forced into another world,” Battaglia, now 84, says in the film. She’d capture crime scenes — first in black and white, later in color.

“Your first murder never leaves you,” she growls in between puffs of her omnipresent cigarette.

The stark poetry of black and white images of the aftermath of violence remind one of the work of New York street photographer Weegee.

But Battaglia would photograph the survivors, women shocked with grief at the loss of a husband, father or — too often — child.

“Photographing trauma is embarrassing,” she confesses (in Italian with English subtitles). You’re working, pointing your camera at suffering, getting close because changing lenses misses the moment. You’re intruding, assaulting the already traumatized.

She captures street scenes of tweenage boys, smoking and playing poker, affecting the tough guy guise in imitation of the local thugs. “The killer is a symbol for them.”

She attends funerals, where the killers or those who ordered the killings are sometimes mixed in with the mourners, where some of the grieving are plotting revenge.

And she goes to court when the real murderers, the Mafia bosses who order the killings, many of them in hiding for 20-40 years on an island where “no one sees anything.” This, more than anything else, has earned Battaglia death threats, reducing powerful, swaggering mafiosi to just another well-dressed hood, handcuffed to a couple of cops — humiliated.

Veteran documentarian Kim Longinotto incorporates footage from Italian and early American TV documentaries about the Mafia to flesh out the history and the criminal organization’s thorough corruption of Sicilian life.

She goes into Battaglia’s personal life as well, an unhappy early marriage that ended her education and thwarted her dreams, the many men that followed — most of them much younger than this strong, courageous icon of resistance to literal “mob rule.”

Battaglia got into politics, got her hopes up when crusading magistrate Giovanni Falcone went to war with the Mafia in the 80s, and was so devastated by his murder she could not photograph it.

Scores of police, and virtually every prosecuting judge who took on the Mafia, were murdered over the decades Battaglia photographed this world.

The history and the personal life details flesh the film out a bit. But the picture is at its most engaging when it focuses strictly on the woman and her dogged work, showing her photographs in the Mafia stronghold of Corleone (go figure), using images to shake her neighbors out of their complicit silence.

It takes guts to take on the mob in a place where its been tolerated for centuries. And sometimes the bravest of those in that fight aren’t in uniform. Some of them are still carrying a Pentax.


MPAA Rating: unrated, images of graphic violence

Cast: Letizia Battalgia

Credits: A Cohen Media Group release.

Running time: 1:37

About Roger Moore

Movie Critic, formerly with McClatchy-Tribune News Service, Orlando Sentinel, published in Spin Magazine, The World and now published here, Orlando Magazine, Autoweek Magazine
This entry was posted in Reviews, previews, profiles and movie news. Bookmark the permalink.

2 Responses to Documentary Review: Italian photographer survives “Shooting the Mafia”

  1. Bruce Soffer says:

    One more comment please. Wegees’ photos of death and destruction were taken with a large press camera, Battaglias” with a 35mm. Hers appear more intimate and more sensitive despite their subjects, Her compositions are more elegant compared with Weegees’ which are more direct so they contain less subtlety. This may be a result of Weegee working with a more cumbersome tool.

  2. Bruce Soffer says:

    I thought “Shooting The Mafia was a great inspiring portrait of the growth of an individual and the pursuit of an artistic life after finding the camera in partnership with a cause she felt strongly about. Letizia felt subjugated by men earlier in her life and the combination of those things empowered her. Many reviews cited her lack of details and personal info. This is a movie about a life and her thoughts, feelings and the inspiration it gives to others. I don’t think the lack of additional facts detract from the character it reveals about her. If one wants more details there is always Google. Despite the revealed gore the film was a work of beauty.

Comments are closed.