In The Goldsmith a tight-knit trio of criminals find themselves in trouble after an easy mark proves to be tougher than they assumed. Directed by Vincenzo Ricchiuto, The Goldsmith begins with a group of children tormenting an old man. The sequence ends with a vicious beating. It’s a cold and confronting opener, but one that quickly sets up the dynamic of three of the characters. The threesome consist of Ari (Tania Bambaci), Roberto (Gianluca Vannucci), and Stefano (Mike Cimini). Ari is the most cunning and calculated child and the boys quickly fall into line behind her. Set to hyper aggressive music, this opening sequence communicates much in a small amount of time.
Ricchiuto then jumps forward in time, introducing the adult versions of the three. Still up to their old tricks, the group is preparing to rob an elderly local Goldsmith. The dynamic has not altered too much, though Ari and Stefano are now a couple, and Antonio has a drug habit that is threatening to tear them apart. As they wait for their intended marks to retire for the night, they bicker. It’s clear that the bonds forged during childhood are starting to feel the strain that ageing brings. Their relationship is integral to the story, or at least the first half, and so these early scenes are vital to paint the right picture. Eventually the time is right and the trio begin their heist. Unfortunately for them, their victims are not as meek as appearances suggest and they find themselves trapped instead in the very vault that they were trying to rob.
It’s at this point that The Goldsmith is at its strongest. Home invasion stories where the inhabitant turns the tables always prove interesting. The Goldsmith shifts the balance of power so much that Ari and company become the victims. Although this is nothing new, the way in which the titular Goldsmith begins to play the group against each other is fascinating. He enjoys toying with the group, with Ricchiuto going heavy on the suspense and tension. There’s an element of fun watching this group of bandits get torn apart, but as the film progresses, these feelings turn to sympathy.
Just after the midway point the story shifts into a more tortuous arena. What starts as a taut game of chess descends into cliched backroom medical procedures. The tension dissipates, replaced with attempts to make the viewer squirm. Those of a sensitive and squeamish disposition will find the second half a slog. The change in tact feels somewhat of a misstep and the film free-falls into tried and tired pathways. There’s an attempt to add something new, but it doesn’t fully pay off.
The Goldsmith
Summary
A film of two tones, The Goldsmith begins as a home invasion thriller before descending into torture porn. Each half will have its own audience, but how much the Venn diagram regions will intersect remains to be seen.
The Goldsmith was reviewed at Grimmfest 2022.
