07/02/2022 - Alberto De Michele’s feature debut tries to peel away the romanticised image of the Italian mafia, but the result is tiring and fails to engage

Alberto De Michele’s feature debut, The Last Ride of the Wolves [+see also:
interview: Alberto De Michele
film profile], is one of the films taking part in the Bright Future line-up of this year’s International Film Festival Rotterdam (26 January-6 February). The story follows Pasquale De Michele (who plays himself, or perhaps a slightly fictional version of himself), an old mobster who has lost his fortune to gambling. He decides to set up a last big heist, and in order to do so, he reunites “The Wolves”, a gang of North Italian fairground operators who moonlight as thieves. Viewers should not expect to see a crime-drama – there’s no action and no tension at all. Instead, they will follow a very verbose film where Pasquale spends most of his time talking to his son Alberto, moaning (too much) and meeting with some potential partners to set up the robbery.

This reviewer is Italian, and he is well aware of how much the image of the mafia has been stereotyped, romanticised and distorted in film, series and books over the last century. In this sense, De Michele’s intent is commendable. But there’s also very little charm in the real, everyday lives of Northern Italian small-time criminals, especially when it comes to planning the robbery of a security van transporting €12 million in cash. And, sadly, there is little charm in this movie as well.

While the presence of non-professionals – Pasquale and the director himself, who plays his son and claims that the story is based on true events – may potentially lend itsome unique vibes of authenticity (and they are present, in rare moments), the lack of a script or coherent dialogue gradually ramps up the viewer’s feeling that he or she is merely watching actors rambling on and improvising under some kind of loose guidance. Besides this, the lack of dynamism does not help things one bit. Most of the scenes are shot inside the car and filmed from some secret cameras’ PoVs; the few sequences set outside the vehicle follow a documentary-like approach, alternating between static shots and short, hand-held walks. None of the other characters stand out from the crowd; they will all come and go.

Towards the end, one might notice a brief moment of disclosure, wherein Pasquale tells Alberto some important truths about their family life and his past trauma. It might come at the right moment, but it is probably the best example of how non-pros need careful direction, as the final result is clumsy and overacted.

All in all, the film begins with a potentially appealing premise, but it ends up being a very tiring experience that is hard to engage with. The hybrid territory explored by De Michele could have benefited from a bolder choice – either to make an (auto)biographical documentary or to stage a psychological drama based on or inspired by real events, with professionals playing their parts, while avoiding some serious pacing issues and honing the dialogue. As it stands, The Last Ride of the Wolves is neither, and is certainly nothing new.

The Last Ride of the Wolves is a Dutch-Italian co-production staged by the Netherlands’ Halal and Italy’s Jolefilm. Gusto Entertainment is in charge of its Dutch distribution.