In the fifth and sixth episodes of thelast season of Gomorrah the profane joins the sacred, and with the return of theImmortal (Marco D’Amore) every certainty seems to be about to collapse. Men are afraid; they truly believe in Ciro Di Marzio’s invulnerability, and Genny Savastano (Salvatore Esposito) is cornered.
Every decision he makes is anticipated. He has just regained power, and is already in crisis. Not only externally, but also internally with Azure (Ivana Lotito) who promises to leave him and go away and the clandestine fights between the various families. It is a question of trust. And when fear comes, everything loses its meaning and importance.
Genny tries to look ahead, to put together a plan to fight Ciro and Sangue Blu (Arturo Muselli), but it’s like grabbing the smoke with his bare hands: every blow is missed. It is not enough to send a man into the ranks of the Immortal, and there is no need to try to convince the clans and gangs of the center of Naples to join the struggle. Savastano, once again, he is alone. Galantommo’s widow wants revenge, and is ready to do anything to succeed. Azzurra is in danger and wants to leave. To regain his freedom, he says, and to save his son, Peter.
But in Gomorrah nothing is that simple: plans fail, Genny is forced to take a step back to regroup, and the legend of Ciro continues to grow. He’s not a man, someone says; cannot be killed. The fifth episode is the last of this first block directed by Marco D’Amore; and compared to the previous ones, it is much faster and full of action. It is no longer a question, as before, of putting the pieces of the board in order: now we have entered the heart of the battle.
The sixth episode is directed by Claudio Cupellini. There is a common thread that unites the various episodes and above all there is a common vision between the two directors. The story proceeds swiftly, but it is never frenetic: each sequence has its weight; each joke, in particular, has its own function. As before, high and low mix; popular knowledge and religiosity become one. The two sides of the same coin. And matters of the flesh, and therefore mortality, fear of the end, pain, almost take a back seat.
Genny must not only defeat Ciro: he must defeat the Immortal and his mystery. The confidence of his men begins to fail. It is an avalanche. We start slowly, with the little things. The drug shipment is not recovered; Di Marzio now has new allies; the historic center of Naples remains no man’s land.
He shoots and kills himself as always. But violence, now, does not seem to have the same value: it is a normal, instinctive thing; an extension of what men and women are. An almost muscular, unregulated reaction. It’s like a spring that clicks without warning. Genny does not hesitate to sacrifice his soldiers. They are meat for slaughter, pawns. Between those looking for a way out and a possibility of redemption, and those who instead quietly accept their destiny and role, the dimension of Gomorrah – understood as a narrative universe, as a world – contracts. Now it’s smaller, now it’s bigger; now it gathers around people.
The police are gone. The magistrate’s investigations are a threat, a lever to be exploited (as, for example, Azzurra does). The very extent of Genny’s trade and power has folded in on itself. The world is no longer there, Europe is no longer there: there are neighborhoods, streets, dilapidated and abandoned houses, and cars and mopeds, weapons and guns. The rumors, the rumors, are thickened by fear and uncertainty. It is no longer a struggle for power: it is a struggle for survival.
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