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Italian men of a certain age, always scowling, speak amongst one another at a bar in Brooklyn. The first scene of Zarra’s Law plays out, and one would mistake it for a badly made mob film by a person who yet is not proficient in English. For most of the film, it is a struggle to figure out who the mafia is, who is working for the police, and just who is an undercover FBI agent; The stakes are puzzling and the story around them excessively immersive. Because of this, it is almost infeasible to understand the premise of the film, much less root for the characters.
Zarra’s Law is more like a biopic on Zarra (Tony Sirico), if there ever was one, as he attempts to pay back the killer of his brother Roberto Zarra (Salvatore J. Reale) who was murdered with a car bomb after learning that Bobby Stax (Wass Stevens) received a mere eight years of prison time for the crime. Well, Tony does come out wanting vengeance for his brother’s death but on the final few moments of the filming and by this point in the film, it doesn’t even matter.
For different reasons, like wanting revenge, some characters in the movie contridict themselves. The same is true for Gaetano Zarra who is Tony’s nephew and Zarra’s son’s role in the movie is confusing as well. He doesn’t even put in the effort to see his father getting closer to being buried, it looks like he possesses absolute disgust for his father’s life style. He lives for a few years in New Jersey and does not reveal any of that to his uncle, grandmother or any of his relatives. Even though Tony seems to be retired as a police officer, Zarra’s father was supposedly Alabon. Like the rest of the family, he was also in the mafia. When the uncle comes to pick him up in the film, it turns out Zarra is now a soldier’s lawyer, one who is deeply associated with the mafia Tony suspects killed Roberto.
Out of these characters (or caricatures, honestly), Frankie “It’s not Frankie-Boy anymore” Andreoli (Brian Tarantina), who tried to assume control of the family while Bobby was incarcerated and is now finding it difficult to relinquish power, is the most interesting. Gaetano has known Frankie all his life, and for some reason, he still feels like he can simply put a gun to the man’s head and threaten to beat him up and take his money, even after he is offered the chance to represent Frankie’s wife Vanessa (Kelli Barrett) in a domestic dispute where she was abused.
The plot of Zarra’s Law thickens, or something like that, when Gaetano is depicted to kind of flirt with Vanessa, but sort of not, even as he meets and instantly gets involved with a waitress at the local mob joint called Christine (Erin Cummings), “but you can call me Chrissy, or Crystal,” because those names don’t have any real differences. Christine/Chrissy/Crystal also happens to be a stage five clinger; after knowing Gaetano for what seems like minutes she presumes that he is “a protector,” for no clear reason whatsoever, and shortly thereafter picks up a dog from a shelter that she just assumes he is going to adopt with no notice. Luckily, Vanessa is more than ready to take the poor puppy.
The gaping differences present in the morally deformed relationship of Gaetano and Vanessa is highlighted when they attempt to retrieve her son from the birthday party, only to see him playing with a basketball all alone on the street. Moreover, even when Frankie’s abuse of his wife is evident, repeatedly leaving her bruised and his child in domestic danger, a biased judge will not ponder over the fact that he is abusive until he examines a file for two seconds. As soon as the judge finds out about Gaetano’s relationship with Tony from the FBI, he changes his mind within seconds. This case demonstrates the flaws in the law. The same illogical legal reasoning also applies when a Frankie hears a hint from his lawyer that Vanessa and Gaetano are overstepping the boundaries of a professional relationship.Initially complex to the point of being perceived as engaging, Zarra’s Law specifically the part where Tony writes what Zarra’s Law is a few minutes before the film’s conclusion – is simply put, cringeworthy. This is further accentuated by its plot twist ending that uncannily raises more queries than answers. By the end of it, there is more vicarious discomfort induced by the exaggerated use of cannoli icing and the depiction of pigeon feeding rather than the fight scenes and emotional conflict that the film seems to include for no particular reason.
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