User reviews

Vito (Nanelo Triola) and others in his gang of delinquents come from troubled backgrounds. Vito lives with his aunt Rosetta after his father murdered his mother and sister. When we meet Vito he already had a few scrapes with the law.

It is one long downhill run, starting with petty crime, but quickly also involving burglaries, robbery and worse. As often happens in these tragic cases, drug abuse also plays a role. A young Vito, only twelve years old, gets arrested and spends some time locked up with other older youths. It is not an easy life; he gets assaulted and it is even hinted that he is raped. His aunt gets a lawyer who insists that Vito is too young to be locked up like that and that she should sue the state and get compensation. When she hears the word 'compensation' her eyes light up; she is clearly intent on making some money rather than just helping the boy.

It is rather depressing subject matter, but reflects real life. After Vito's release he again breaks the law, and the vicious cycle continues, without a glimmer of hope. However, this is not surprising when we learn about Vito and the gang's philosophy: "We don't even care whether we care on not".

Most of the acting was well-executed by the largely non-professional cast. The music score reflected the rather gloomy subject matter, whilst the cinematography was good although not outstanding.

This film reminds me of the similarly themed, gritty but excellent 'Pixote' and the even better 'Los Olvidados'. The big difference between these two films and 'Vito and the others' is that the characters in 'Pixote' and 'Los Olvidados' are three-dimensional and credible, while in 'Vito and the others' the characters could have been better developed; they often seem somewhat flat.

My criticism apart, 'Vito and the others' is in most respects a great film; I score it an above average 7/10.

Note: If this review reads a bit fragmented and dotted with spelling errors, my apologies; I know the alphabet quite well up to the letter 'm' but with the second half of the alphabet it is a different story… ;-)

This movie is about the street children of Naples. It is a brutal and compelling film. No punches are pulled. Vito is about 11 or 12. He and his friends do what they can to survive. Sell their bodies, steal and finally kill.

I have seen a lot of movies about gritty, dark kids tales. This movie has got to be the worst cut of all the movies I've ever seen!. Extremely jumpy editing, going from one scene to another without fully absorbing the scenes and quite understanding the outcomes. A lot of the film just felt like one big montage of moments in these kids lives in the period of time they're in. Sure you get the picture of what's happening but you never get to invest in the story going on. Which is a shame because there's a good story buried in this movie somewhere. Just the last of cohesivenesses and sloppy editing ruin this from ever being impactful.

A rewatch at Alice nella Città : Antonio Capuano's Vito e gli Altri is a devastatingly raw and unflinchingly honest film that shines a light on the harsh realities faced by the marginalized youth of Naples. Even three decades after its release, the film remains chillingly relevant, as the tragic plight of Neapolitan children caught in cycles of poverty and violence continues to echo today, with minors still dying at the hands of other armed minors.

Capuano's debut is both a cinematic triumph and a social indictment. The film chronicles the life of Vito, a young boy navigating a city rife with crime, neglect, and despair. Through his eyes, we witness a generation of lost children-abandoned by society, preyed upon by crime, and left to fend for themselves in an unforgiving urban landscape. The story is unapologetically brutal yet deeply compassionate, forcing viewers to confront the stark reality of a problem too often ignored.

The enduring power of Vito e gli Altri lies in its tragic prescience. What was a bold exposé in 1991 remains a haunting reflection of the ongoing crisis in Naples. The film's exploration of systemic failures-poverty, lack of education, and the lure of organized crime-feels disturbingly contemporary. Capuano's work is not just a film but a call to action, urging society to address the conditions that allow such tragedies to persist.

Capuano's direction captures the soul of Naples with a vérité style that immerses the audience in its chaotic beauty and heartbreaking despair. The city becomes a character in itself, its narrow alleys and decaying buildings providing the perfect backdrop for the struggles of its forgotten children. The non-professional cast adds to the film's authenticity, with their raw, unpolished performances making the story all the more poignant and believable.

While Vito e gli Altri is an incisive critique of societal neglect, it never loses sight of its humanity. Capuano paints a nuanced portrait of his characters, showing not just their suffering but also their resilience, dreams, and moments of fleeting joy. This balance between harsh realism and emotional depth ensures the film resonates on both an intellectual and visceral level.

Three decades later, the tragedy of minors killing minors in Naples reminds us that the issues Vito e gli Altri exposed remain unresolved. The film's relevance is a sobering testament to its power and a damning indictment of the lack of progress. Capuano's work is not just a cinematic achievement but a critical piece of social documentation, demanding to be revisited as a reminder of what remains at stake.

Vito e gli Altri is more than a film-it is a masterwork of Italian cinema and a searing indictment of societal failure. Antonio Capuano's fearless storytelling and his empathetic gaze make it a timeless piece of art that speaks to the human cost of neglect and systemic inequality. Tragically, its message is as urgent today as it was in 1991, a reminder of the work still needed to protect the most vulnerable among us.