Based on the novel by Mario Puzo, The Sicilian is the saga of the life, loves, and dreams of the infamous Sicilian bandit, Salvatore Giuliano (Lambert). World War II is finally over, and a war-torn world is at rest. But for the island of Sicily, whose inhabitants dream of independence from Rome's oppressive, ironhanded regime, the struggle has just begun. Three powers have always ruled the island—the Church, the landowners, and the Mafia—until Salvatore Giuliano pronounced himself the fourth.
Determined that Sicily shall gain its freedom, Giuliano and his “brothers” rob and ransom the rich, cold-bloodedly murdering all who dare to defy or betray them. As Giuliano proudly redistributes his newfound wealth among the peasants, Don Masino (Ackland), the head of the Sicilian Mafia, declares that Giuliano must be stopped—at any cost. Now it's a fight for survival as the bloodiest manhunt in Italian history sweeps the countryside of the notorious outlaw, Giuliano. (Gary Reber)
There are no special features.
The 2.34:1 1080p AVC picture was photographed on film in Technicolor® with the Arriflex 35 BL camera system in the J-D-C anamorphic scope format and released both on 35-mm and blow-up 70-mm prints. The settings are grand and lush, with a warm and rich color palette that is naturally hued throughout. Earthy tones are prominent. Fleshtones are naturally hued throughout and warm in tone. Contrast is well balanced, and blacks are deeply rendered. Shadow delineation is generally good. Exterior settings are old-world stone and brick, with an earthy quality. Resolution is generally good but often softly focused. Close-ups fair better but still lack the sharpness of modern filmmaking. Slight grain is evident but is never objectionable. Overall, this is a classic presentation in the fashion of an epic, and very pleasing to view. (Gary Reber)
The DTS-HD Master Audio™ 5.1-channel soundtrack was sourced from the six-track master and is a unique mixture of sonics, including a music score that features orchestral compositions and segments of Glenn Miller and Count Basie, during which either seduction occurs, or ballroom dancing. The music adds an enveloping presence. Gunfire is prominent and loud, with surround envelopment. All sorts of atmospherics are present, and the sound of horse gallops and Foley effects are nicely effectual. Dialogue is naturally presented with generally suitable integration. In one scene a sizable police force rides through the streets on motorcycles, enhanced with strong .1 LFE extended bass. Overall, the soundtrack sounds a bit dated but is remarkable for its age and surround presence. (Gary Reber)