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Home , Daniele Luchetti, Gabriele Muccino, Giorgio Strehler, La piovra, Luca Zingaretti, Luisa Ferida

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Synopsis

At dawn on the 30th of April 1945, five days after Liberation, the bodies of Osvaldo Valenti and Luisa Ferida were found on the outskirts of , executed by partisans a few hours earlier. A couple famous in life as well as on the screen, Valenti and Ferida had been among the stars of the “white telephone” films that Fascism encouraged, nearly always depicting villains and negative characters. Their private life was also dominated by disorder both of them cocaine addicts and, it was said, sexually promiscuous. After the armistice on the 8th of September 1943, when the country was split in two and the Germans changed from allies to occupation army, Valenti and Ferida went North and joined the Salò Republic, the last incarnation of Mussolini’s folly. They settled first in , where they managed to shoot a few films, then in Milan where – joining with a gang of torturers – they dedicated their energies to the black market. At least that was the rumour. When they turned themselves over to the partisans a few days before Liberation, they both denied all charges. Valenti justified his trafficking with his continuous need for drugs, he belittled his presumed misdeeds, attributing them to a general defamation and envy. The Liberation Committee claimed exemplary punishment. Thus the curtain fell on those once famous actors Valenti the villain, Ferida lost woman. Who can deny that the gossip which ruined them wasn’t fed by the very films that created their legend, the despicable characters they played so many times on the screen.

Interview with Marco Tullio iordana by Lorenzo Codelli, taken from Sanguepazzo, perling upfer,

ho ere svaldo alenti and Luisa erida As is well known, five days after the liberation of Milan, the lifeless bodies of Osvaldo Valenti and Luisa Ferida were found in Via Poliziano, having been executed a few hours earlier by the Pasubio Brigade partisans. A couple, famous in life as well as on the screen, Valenti and Ferida were among the stars of the “white telephone” films strongly supported by Fascism. In those reassuring and conformist films they had always played the roles of villains, upsetting the Italian petit bourgeois with characters who also reflected the permissiveness of their private lives. After the armistice of the th of September 1943, they sided with the Social Republic and moved to the North. They managed to shoot a few films in Giudecca, Venice, where Mussolini thought he would be able to recreate the pomp of Cinecitt, and it was here their rapid decline began. Valenti enlisted in unio Valerio Borghese’s 10th MAS, where his duty was contrabanding for the purpose of, we would say today, self-financing, since the 10th was disliked by the Sal Fascists. Contrary to rumour, there is no evidence that he participated in search actions, but to supply himself with cocaine he became a regular follower of Pietro och, a sinister figure who raged throughout Milan at the head of a parallel police force responsible for all kinds of atrocities. The basement of Villa Triste, headquarters of the och gang, gave birth to the legend of Valenti’s participation in torture, with Ferida dancing, scantily dressed, to arouse the frenzy of the torturers. e point out that none of the biographers working on this matter have ever found direct testimony to confirm this rumour.

ere the eecuted ithout a trial Valenti turned himself in to Pietro “Vero” Marozin, Pasubio Brigade commander, to prove his innocence. Marozin was a very controversial figure in the Resistance: pragmatic, abrupt, not very subtle. e took Valenti in and, later, Ferida as well. At first he attempted an exchange of prisoners with the Germans, but negotiations failed. Vero didn’t immediately carry out the order to shoot them (decided by the CLNAI, the Northern Liberation Committee) and transferred them to a farmhouse on the outskirts of Milan. Maybe he wanted to evaluate the leeway for an act of clemency, maybe he just wanted to gain time. Other rumours – which could never be verified – insinuated that he was mainly interested in Ferida’s jewels. owever, in the end he brought them back to Milan and shot them on the night of the 29th of April. The previous afternoon, the “cathartic” exhibition of the bodies of Mussolini and Petacci had been staged, with the corpses displayed hanging head down along with other officials, in Piazzale Loreto. said that the Resistance was “dishonoured” on that day. Ferruccio Parri spoke of “Mexican butchery”.

Do ou thin alenti and erida ere innocent During their brief detention no one came to clear them, no one formalised a specific accusation. Other elements of what I would call a legendary nature were decisive, rather than disputed events or specific testimonies. Valenti and Ferida had lent their charm to the Regime, adhered to Sal, collaborated with the Germans, profited from the black market. They had always behaved as if above any law, contradicting all common sense and decency, even proud of their dubious fame. It mattered little whether they did it out of narcissism, lack of thought or the desire to pae e ougeo. They had to pay, be made an example of for everyone. From this point of view they were perfect targets, the ideal “culprits”.

Did their cinema image pla a role Luisa Ferida made her debut in 1935 with eaoo, directed by Corrado DErrico and Piero Ballerini, Valenti in 192 in apoaungeee directed by ans Schwarz. Both of them began in secondary roles and when they won main roles, they were nearly always as antagonists. Valenti was relegated to the role of the villain, Ferida to that of the faithless woman, the lover, the home-breaker, or the very opposite, the victim of adverse fate. The cinema of the twenty-year period didn’t want or didn’t know how to utilize the naturalness of their acting (occasionally dubbed, he by Augusto Marcacci and Sandro Ruffini, she by Lydia Simoneschi when she was a saint, by Tina Lattanzi when she was a slut) other than in co-starring roles. This partially explains why they went to Venice, maybe hoping for better contracts. At that time the cinema

rci a wrl aciai wiai a il aricai l a ical caracr a i la cr cri rr a ri

lessanro Blasetti ha them act together for the first time i nenueoSaaooa ali i rl ar rc ia ria ail aa cria la acr wa i rvi i il rl a ca icl a r aaic acr a acr c a ia rlli al a r acria ir ar all a i arl vr ir a arvll ca

Yet in our film ou give a completel ifferent version of their first meeting a i ir a liri a rliiar rar Sanguepazzo i a civ il a i rcrc r r ia ria a val ali i a iaiaiv wr iir ral v a l i i w allw l irr i c all a iv ir i i Sanguepazzo a lac w val i alra a ccl acr a ia i ill a ra i acall w i irl ia ria ar i ar wi r ri ac i a wa alra a w ali lar lai wa iai a irl w a c r cri wi avaa r a r a a larac rv a irria ali w wl av iv i i rr a crac lir iial arwar a wai i i ca r r rl a will a r a ar

olfiero plae lessio Boni coul e inspire Luchino isconti aricraic rii lv r raliic anopoop cia ariciai i iac ali ar acall a l a rr ici lir i ici r a la i alii airai a al li vr ir ilar cvr i a caracr a i ii ir wr a alra rar rali rvli il ar c a ria aria ili c a r llii racc ri c a lai il r wr v rilli ar l rariar il agazzo i wic ali a a all rl ri vr a l ri war i li wa a Sanguepazzo il ali i i

alenti irecte a film ut it wasnt calle Sanguepazzo a vari il e Saaa ae e ee ae e a uaeg a v e oeenoeee i ala wa irc i wa al wr a ail acci ali i r i a wa a i i ric llii w a wri crla ali cri ccri ar i a i la i a i ia i wr irr l rica avac wi c icril rr wl crw v ra il rviv a llii wa i va a il a wa i lici ai a wl ar ac rai a ali a a r al i cllarar

hat prompte ou to mae this film Is it a proect ou have een nursing for a long time i ar wrii i ri ar o oe e ane ir il wa a i r a i ir l a wi caari a w aci acr c a ar lirai l i a i a i a ali a ria wa l ali oeaSa enSa ir r rcrc v cr r wr ii ili aar ue ann Soa i la iri oeane iai ri cllc racc avi i aaoeno ila a i neannena li ic a l ircl ivlv wr ill aliv ri irviw wr vaiv a i v wa r wr r wi irai a w c a ir al a i wa clar wa i ir c wa a lw iri i r w a r wr iar war wr v wir l ivil war

n e e enon civil war a no ea ue onenng eane an eaona his is true. he essay by laudio avone na guerra civile, Bollati Boringhieri, 1991 that violated this taboo aeared in the following decade. For many years the definition civil war was used only by the Fascists, yet it was the right term to describe what haened in our country between etember 193 and Aril 19 and continued haening for many years after. omething that wasn’t metabolised, that we can’t succeed in archiving, that kees re emerging, like a nightmare or a farce. his is why I have always wanted to make this film. I consider these ages of history crucial for understanding who we are I still feel all its reality, burning and unresolved.

nouopnoneonoonoenenaene I don’t believe in memory in common. Memory can be in common if similar, if generated by similar exeriences, but it can’t be imosed by decree. Memory is our history, our identity. I’m not seaking of national identity, the character and culture of a eole, but of our ersonal identity, our intimacy, the A chain, different for each individual. Values can be held in common, in fact they must be. Without common values, society doesn’t exist. et memory is another matter a comlex territory where each blade of grass, each grain of sand, is different from the next and carries a different emotional legacy. his is why artists exist to give voice to radically different memories, to tell their stories. ot istory. elling istory is the duty of historians.

aeoeaneneeaoae he cost, above all. At the beginning of my career it was imossible to find someone willing to invest all that money in me. he roect made the rounds of half a doen roducers two or three times I even began rearation. hen everything got shelved. I should also say that at the time television absolutely didn’t want to get involved in a roect that was considered dangerous. Fascism, al, sex, cocaine, artisans who execute without a trial… best to abandon it, best not to go looking for trouble It could have been done by offering it to two American stars and shooting it in nglish. ot that I was against it in rincile, but this story seemed too much ours, too Italian, to move so far away. I had the feeling that two American stars would have erverted it. uring all these years I often wondered if there was still any sense in making this film. Once, discouraged by the umteenth time I drew a blank, I threw out all the scrits I had in the house. Luckily a friend had ket a coy.

e op ou gae o ngeo aagao ou poue o e eon e ae e gea ueoThe Best of Youth The Best of Youth comletely changed my osition on the market. ot so much because of the film’s success as for its incredible distribution worldwide. his made it ossible to access financing from many countries that generally refer to buy a finished roduct without risks yet in this case they wanted to reserve the film. It’s lucky that Angelo Barbagallo dove into this roect where everyone else had thrown in the towel.

aepangeunaeeea It changed through many small cuts, additions, reairs and long continuous rewriting work. nfortunately, from a certain oint onwards I was no longer able to urse the adventure with the comanions I had started out with no ngari and Leone olonna, both of whom assed away uite young. After the first research and interviews, I started writing anguepao called estino at the time with no ngari in 193. I didn’t want to work alone I felt the need for a scritwriter to filter material that had too many of my ersonal imlications a removed critical interface, who didn’t take for granted the information I had collected, and at the same time loved the cinema of that era as I did. no was a great cinphile, it was meat and drink to him. At the same time he was working on the story for The Last mperor and was not surrised that I wanted to construct the film on two arallel time lines. Bertolucci’s film was also constructed with the same rocedure, derived in turn from The onformist. xcet that in The onformist this solution was found during editing by the ingenious editor im Arcalli, whereas in The Last mperor, and in anguepao, it was contemlated during the writing. no fell ill in the winter of 19 and died a few months later, deriving Italian cinema of one of its most brilliant anoganeaanoneeoeeaonuengeoaeoo up agan eone oonna o aong uano anuzz a ng Appuntamento a Liverpoolunueeeenaneaeeonge pouaueonzongaaneoneoonnaaeaaenoe ee o age nee opanng aou no eng pa eo oo pae aa n a e oneoeaeoongThe Hundred Stepseaeenaenaeo oeneeaoneoepeopeaoeanaeoope a anoeaoanae nooneoueeaenona e oeeneeenaeneSanguepazzoeeeeaeouneeea enaganpangueoageoenegeneanea Lets tal aout our lead roles oth etraordinaril eective h did ou consider Luca ingaretti and onica ellucci or the roles o alenti and erida e a ona e non e o an ea e aa e e o aou eaon ee e ou on e ane o o ogee eea e eu a a ong eene aae Se epoe a oan aoue a o e onue oeaonoaoeneeaueaeonanaooeapa oaepenngengauneoennooeaaeeoneenono a ne a a opeen o p unng o en n e age o e enn o peeenpeonaaepgeeuepeopeaeaoenuaeoe e ea ona oa ae a o o aeng p aa uee neung oaon en en e gaze enanng ee oeng uaneou aena poee an eanng aou e a ong p o nepenene an a e ae e a geaapaounoeeaoaenaaeenenougeee ononeaea aneuneaneaoenueaeaaeeene uaeaanaegeneaeapaeonaneaaene n this ilm she undoutedl seems a character rom the s ouanoeoueaeaeupanaoeoaeaon eenee e poe o eeeno ageengeueo pungon a eo o aeouaeaoupuouneoeoenoapeo And Luca ingaretti ana ao pne aa aae o a e ong a aga enue onoooe ano a oe oeao ougappenep e pa aoe eanongnoonouounagneoeeenpeonaeen ean enengae is aeneenneeee an eaaoeeneupeaue egeaeeangaeuaeneeaeeeeanaanoeo aaeapeaueooapegeeaeeaeouue aeouooeoeenoeeaaeoaaaneae oe o ang pae one en ae aup o aggee u aa upg an geneou e oe e onaano eaa on ug ngae nee e o ae aeneueeaneeaaoappeangunpeaanaoeoepe aaeaanoaaneagueoeeacertainnoaanaenane uouoeeagainstnoeoneoouaunaua oeng gean n the ilm Luisa struggles ith her love or to ver dierent men n the one hand svaldo on the other oliero e e a e eeen a an ana oe o e oe o o aonneeaooeouueneeeooeougeeea oaoeonepeapaoe n this sense the scene on the tram hen alenti could arrest oliero ut leaves him ree is revealing ueaenouoeaooaeueonneaeengo an o pa a anoue ean o o a goupoounguen appea eaeeogneeaoeaoauogapeaeoonga SupngaenaaouSanguepazzoanoneaeaeoeoe

it. He says that the film is the story of a woman torn between two loves and her ambivalence must be accepted. This is a great declaration of love to Luisa and a great declaration of esteem, maybe even friendship, towards Golfiero. and Alessio Boni played their roles magnificently.

Alessio Boni, in the role of Golfiero, appears to me more mature compared to Matteo in The Best of Youth and to the young Po Valley industrialist in Once You're Born You Can No Longer Hide. Alessio Boni grows with the constant, regular progression of centuries-old plants. He has an incredible adaptability, a service spirit not frightened by any sacrifice. He lost seven kilos to play the role of Golfiero and took on the characteristic shape of a man of the 1940s: thin, undernourished. He lost all his powerful muscle mass, his physique created in the gym and the swimming pool. He is a little reminiscent of some American actors who had to “suffer” to enter the character, to get to know all the nuances, even the apparently insignificant ones. Furthermore, he comes from the Academy, from the ; he has an enviable technical preparation and can boast of being a first-class apprentice. Nevertheless his greatest talent is his capacity for improvising with absolute naturalness. This is ideal for me, since I continuously make adjustments and variations during shooting. Furthermore he is a loyal friend, happy and full of resources, one of those people you would like to have as a neighbour.

In the end appears – his brother in The Best of Youth – in the role of the “executioner”. This appearance loads Valenti’s execution with meaning… It was a truly lucky chance! During the shooting of Sanguepazzo in , I went to see Luigi who was filming the Luca Ronconi show Il silenzio dei comunisti. I invited him to come and see us on the set. It came to mind that on the Monday we were going to film the execution scene. I asked him: “Would you feel like shooting Zingaretti and Bellucci?”. He started laughing. During the production of The Best of Youth we were always joking about the fact that while I took him for the role of Nicola, in reality my heartfelt preference was for Luca Zingaretti. It wasn’t true but we went ahead for the whole film teasing each other. Here was the chance to avenge that distant (and completely invented) betrayal! I must say that I was very pleased to have Lo Cascio in the film, even for just a few moments. Precious moments, very difficult to interpret. Luigi plays a character who doesn’t come from the working class, but from the middle class, maybe a young teacher. In any case someone just enlisted in the Resistance, with no military culture, without the preparation and decisiveness of the professional activist. “We got justice…” he murmurs. It isn’t a statement, but a question he asks himself: the question of someone who doubts having done the right thing, even though it was the only thing to do. His gaze suddenly grows uncertain, almost frightened by what his hands were capable of. It isn’t a matter of remorse or repudiating the gesture necessitated by the showdown, but the realization that it is terrible, tragically exceptional. It takes a great actor to render the ambiguity of this doubt that, as Sciascia would have said, penetrates the heart as a betrayal penetrates a fortress.

There are two more cameo roles in the film… Yes, who plays one of the Villa Triste convicts, and , who plays a police chief responsible for making the undisciplined Vero and Golfiero “toe the line”. Sonia’s appearance lasts a few seconds but punctuates the strength, I should say the eroticism, with which the prisoner reproaches Valenti: “What are you doing with these scoundrels? You’re an artist, get out of here!” Sonia’s cry, the “violinist” immediately silenced by blows, rips away the mask, and, in case you haven’t realised it, reveals all the horror of that place.

And Marco Paolini, with those intonations typical of the 1930s? I met him at the Toniolo Theatre in Mestre – where his show Miserabili – Io e Margaret Thatcher – was staged the day before shooting started. I offered him this short role that called for his charisma. I needed his authority and integrity so that the character wouldn’t be just a cold unpleasant mannequin: all the more so because he is the one who explains the need for exemplary punishment, for identification of the symbolic guilty party in order to save the others.

I the character o ero, interpreted ariio onadoni, dierent ro the partian ieppe aroin Yes. In fact in the film he is called only by his battle name. I didn’t want to enter into the discussions about his character, which as I said was uite controversial. I wanted to make a film that saw those events as if they had happened not sixty years ago, but two or three hundred years ago. emote in time, from which a kind of enen o eis extracted, not philological restoration. auriio Donadoni’s Vero is a man of action, a military leader used to taking uick decisions, without splitting hairs. In this sense he may resemble the original character. There is a fascinationconflict relationship with Golfiero, whom he likes but considers bourgeois, even though redeemed. e is suspicious of all those scruples and considerations towards Valenti and Ferida, whom he considers Fascist criminals. If it had been up to him, he would have already shot them. ut Golfiero’s doubts are contagious, little by little he feels the need for true ustice. The gae between Donadoni and Lo Cascio at the end of the film, the pain, the infinite compassion, is one of the moments I like best, the one that represents me most, if a film must represent its author and not ust tell a story.

he on actre portrain Irene, ero’ niece, ctodian o the arhoe, i ver ovin Tresy Taddei, is great, and was discovered by Pasuale Poessere, who cast her when she was seven years old in aaee. Tresy comes from a circus family, she is an acrobat, which explains her timeless physiue, her strong body, like those of the farmers of days gone by. She had to shoot a difficult seuence watching svaldo’s violent withdrawal symptoms, with Luisa masturbating him to calm him down. It could have been simply brutal, morbid, on the verge of voyeurism and vulgarity. Yet thanks to the naivety and delicacy that Tresy expressed in addition to the great pathos conveyed by onica and Luca it became one of the most powerful love scenes of the film.

he character o trla, interpreted iovanni ientin, ha a ver iportant nction t the end, drin the trial, he reveal rther apect o alenti’ ort el Valenti’s ambiguous factotum, the one who procures drugs and girls for him, in the end becomes the key witness against him, ready to say what everyone is expecting. A tragic Leporello, who in that scene reveals all his weakness and mediocrity, even asking Valenti’s permission to betray him. e needed an actor who, while not being afraid to appear vile, knew how to express a kind of perverse love for Valenti, a secret identification. I couldn’t have wished for a better rendition of all the ambivalence of his relationship with Valenti.

he il preent a proceion o npleaant, etree character I’ thinin aove all aot Pietro och You can’t imagine a person more distant from Pietro Koch than Paolo onanni, the actor who played him. A gentle young man, brought up like the gentlemen of the century before. e immersed himself in Koch’s folly, in his sadistic cruelty, but without ever letting the repugnance he felt for that criminal reveal itself. Proof that it isn’t always necessary to look for actors who resemble the role. uite to the contrary, those who are lightyears away can be much more effective. The head makeup artist nrico acoponi came up with the idea of the gold tooth that flashes sinisterly every time he smiles. It was a great idea Koch is frightening even when he tries to look benign.

he character o ardi, plaed Lii ierti, ee inpired Lii reddi, the poerl irector eneral o ineatoraph, the onder o inecittà The “Great Author of Italian Cinema”, as Valenti mockingly cries out to Il Duce Gigi Diberti, another magnificent actor, plays a character inspired by Luigi Freddi, even if Freddi was never Ferida’s lover, and did not commit suicide, luckily. Purged after the war, he could only carry out marginal work he didn’t want to or couldn’t be recycled, even though he was an important person, with an organisational capability and an open mind that his successors did not always possess.

o are enthiat o the cinea o that tie The Italian cinema promoted, or we could say nene, by Luigi Freddi and by Fascism is not propaganda cinema, after the German or Soviet model, but popular entertainment cinema inspired by ollywood. Propaganda was entrusted to LC Institute for ducational Cinema,

estabished in , not to cinea uigi Freddi, a ournaist ith opooaa as a Fascist fro day one pon appointent by Mussoini and iano, he traveed in the SA, reaining at ength to study the cineatographic syste, convinced that tay shoud foo a siiar route The route of a copetitive industry, capabe not ony of producing orks springing fro the naona iagination, but even capabe of eporting the Freddi proposed to Mussoini that, using the eape of nstitute for ndustria econstruction, estabished in , the State shoud intervene directy as a financer, guardian and naturay aso censor of a cinea copany that had a eak base and therefore oud be directy dependent on the regie and oud never contradict it Mussoini ho, as an eournaist, had perfect knoedge of the iportance of the edia, understood at once that the organisation of consent oud be a thousand ties ore effective than propaganda He gave Freddi the genera anageent of cineatography, he enacted egisation on financia eans to activate production, he set up the inecitt studios and the perienta inea entre Thus the bases ere set for our industry

More than a few films were actually beautiful ut they ere erased fro the eory for three decades, aybe because of their reference to a period that everyone anted to eradicate A ne generation of critics as needed think above a Aberto Farassino to reread the in a different perspective n the correspondence beteen Freddi and Gaone during the shooting of Spoean, it is obvious that these en oved their ork There as passion, care, aareness, rigour, that are sincerey issed Most of those fis ere e shot, e acted, ost of the ith direct sound hich eant seecting good actors, ith technica support to be envied by Aerican cinea Fro this point of vie, the aeage production of taian cinea as better than todays production n the other hand e ust recognise that the pea ere necessariy ess courageous, ess innovative, ess radica This cinea as necessariy very cose to the regie that financed and supported it

Are you afraid that this affirmation might cause people to feel nostalgia for those times o think that e can put out the it fuse of fatais and disiusion ony by teing things as they are n the iediate postar period it as difficut to regret Fascis the grotesue phrase aeeepuzzone euaene as an isoated ocking cry eoFascis found its breath hen the countrys econoic groth stopped and its ebeing cae to a standsti So uch tie has passed today and disinforation and ignorance are so idespread that for any young peope there is nothing scandaous about being a, or about regretting a period they kno absoutey nothing about ne can see enough and be frightened by surfing the eb for a fe inutes f today Fascis and, orse yet, azis ere to return ith their deceitfu seduction, it oud be due to the ipoverishent and socia break up of urope, not ust tay ncreasing ipoverishent, increasingy opaue and controed inforation, schoos that teach ess, a ake our eory, our capabiity or desire to speak ore ortified and depressed A ciate, in y odest opinion, siiar to the feeings of frustration and anguish that can ead peope to see catharsis in dictatorship aenti portrays a certain type of taian, undiscipined and conforist, rebeious and gregarious, hoierthanthou and unreigious, infantie, frightened, sefobsessed, easy prey for fattery and dependence This is hy peased about aking Sanguepazzo no and not in the s, hen it as neea ony for e Today it sees to e that it is a itte necessary even for others

Why is it film’s title all one word t is a Siciian idio, earned hen shot euneSep t denotes an undiscipined spirit, eccentric, uncontroabe A hothead, a dangerous eeent auaang as the French say, has a very siiar eaning

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To ove the amned a Caduta degli Angeli ibelli oung erson’s Guide to the Orchestra Notti e nebbie Appuntamento a iverpool a neve sul fuoco Especially on Sunday ’nico aese al Mondo asolini, an Italian Crime Scarpette bianche a rovina della patria The Hundred Steps The Best of outh Once ou’re Born ou Can No onger Hide Sanguepazzo ’elisir d’amore Morte di Galeazzo Ciano Vita segreta del signore delle macchine asolini, an Italian Crime

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racula The Heroes The Apartment Csar award for Best New Actress obermann Mauvais genre As ou ant Me Those ho ove Humanity’s ast New ear’s Eve nder Suspicion Malna Brotherhood of the olf Irreversibile Astrix Oblix Mission Cleopatra The Matrix eloaded – The IMA Experience emember Me ’ultima alba She Hates Me Secret Agents The assion of the Christ N - Napoleone and Me How Much o ou ove Me The Brothers Grimm ’eletto Manuale d’Amore - capitoli successivi Ne te retourne pas e deuxime souffle Shoot’em up

uangae Santa Giovanna e due commedie in commedia The Fairy ueen e tre sorelle Gli ultimi giorni dell’umanità The Madwoman of Chaillot Bent Come gocce su pietre roventi Tito Andronico Antigone Crimini del cuore rigionieri di guerra Tre alberghi Spingendo la notte pi in là a Sirena The Gold immed Glasses Abyssinia E quando lei mor fu lutto nazionale The ack Strangled ives Artemisia ew ou’re aughing iss Me First In the ight of the Sun ays of Abandonment Non prendere impegni stasera Our Country My Brother Is an Only Child Tutte le donne della mia vita Il giudice istruttore A rivate Matter oung Mussolini

Gianluigi Calderone (1993), La iora by Giacomo Battiato (1997), eraione diea by Claudio Fracasso (1999), Te Bile Te Lie o eu by Stuart Gordon (1999), erlaca te ourage o a ut Man by Alberto Negrin (2002), ncoreo by Enrico ldoini (2002), oio agguato by Renato De Maria (2003), and ealonia by (2005). In 1999 he began work on the successful series l oiario Montalano by Alberto Sironi.

Alessio Boni

Boni studied at the Silvio D’Amico National Academy of Dramatic Art where he received his diploma in acting. He then attended a finishing course with Luca Ronconi and one in theatre acting in Los Angeles. Among his first theatre appearances are: Miduer igt rea directed by , eer Gnt directed by Luca Ronconi and Te Mier directed by Giorgio Strehler and aid uurn Luc directed by Enrico Maria Laman. He made his big-screen debut in iario di Matilde Manoni by Lino Capolicchio in 2000. Further credits include: Te Bet o out by (2003), on aer aura by Angelo Longoni (2004), nce oure Born ou an o Longer ide by Marco Tullio Giordana (2005), ont Tell by Cristina Comencini (2005), Te Goode i by Michele Soavi (2005), ecret ourne by Roberto And (2006), olici del ilenio by Stefano Incerti (2007). His numerous TV appearances include: Gioco erero by Italo Moscati (1991), oe iete o ono ui by (1992), l aino io by Massimo Manna (1993), Lettore arti by Giulio uesti (1994), oo la teeta by Andrea and Antonio Frazzi (1995), n rete tra noi by Giorgio Capitani (1996), Te ount o Montecrito by Ugo Gregoretti (1996), n rete tra noi by Lodovico Gasparini (1998), ee aralo by Franco Giraldi (1998), La donna del treno by (1998), ena aura by Stefano Calvania (1999), ncanteio by Thomas Sherman and Alessandro Cane (1999), ncanteio by Alessandro Cane and Leandro Castellani (2000), Loo del ento by Paolo Bianchini (2001), Laltra donna by Anna Negri (2001), racula by Roger oung (2001), utering eigt by Fabrizio Costa (2003), La caccia by Massimo Spano (2004), ar and eace by Robert Dornhelm (2007), araaggio by Angelo Longoni (2008), and eecca la ria oglie by Riccardo Milani (2008).

Maurizio Donadoni

Donadoni’s stage credits include: ou Lie t directed by Mario Morini (1980), Troilo e reida directed by Pier Paolo Pizzi (1981), Manadieri (1982), alet (1986) both directed by (1982), Betia da tile directed by Cherif (1985 l ogno dello io directed by Piero Maccarinelli (1984), Te ortrait o orian Gre directed by Giuliano Vasilic (1986), dialogi delle carelitane directed by Luca Ronconi (1988), Giacoo il reotente directed by Paolo Maccarinelli (1989), La erra directed by Carlo Cecchi (1997), La ita ogno directed by Massimo Castri (1999), Muc do out oting directed by Gigi dall’Aglio (1999), alet directed by Carlo Cecchi (1999), and ntigone directed by Irene Papas (2005). His film credits include: Te tor o iera (1983), Te uture oan (1984), loe ou all by (1986), Te Malad o Loe by Giorgio Treves (1986), eet ro a tranger by Franco Ferrini (1987), Te Moro air by Giuseppe Ferrara (1986), ulla ci u erare by (1990), ll ara Men by Roberto Tescari (1992), giorni a by Gabriella Gabrielli (1993), Bit and iece by Antonello Grimaldi (1996), n eitne ccount by Pasquale Pozzessere (1997), t e by Andrea Porporati (2001), Bear i by Sergei Bodrov (2002), Te eligion our by (2002), ignora by Francesco Laudadio (2003), ire at M eart by Lamberto Lambertini (2005), Te edding irector by Marco Bellocchio (2006), and Te ar ea by (2006). TV credits include: otti e neie by Marco Tullio Giordana (1983), n aino di noe Ge lattea by Franco Rossi (1988), La ugiarda by Franco Giraldi (1989), na ita cellerata by Giacomo Battiato (1990), ori una dia di regie by Alfredo Giannetti (1990), Liettore anticriine by Paolo Fondato (1992), roceo di aiglia by Nanni Fabbri (1992), La iora by Giacomo Battiato (1998), erone by Paul Marcus (2004), iritto di diea by Donatella Maiorca (2004), and araaggio by Angelo Longoni (2008).

Giovanni Visentin

Visentin began is roii inea an teevision areer in te s ig sreen reits inue ea o Soo b rano Girai ea an ou b Giaoo attiato eueeS b aio eti eoonagguao b ie ouraui g o aae b ttore asui aone b ristian De ia eone peene b raneso Lauaio Soup b iorea nasei az neea b oberto Dgostino Saaen b Giaaoo esari gon a b Gabriea Gabriei aa age b Gianaro anta epo e ono b Luio Lunerti ong b iio taonna onoaeone b Gianaro anta eoaonao b ntonio oniaio penSea b erinano Vientini rgnani eSaean b raneso a oso eouo b ergio asteito eueea b erinano Vientini rgnani ea ae b Dario rgento eoageoe b auio oni an SoongSo b eraro arboni is or or teevision inues e an poe b io etri uu b ario issiroi e e o nono a b aaee aieo e azon agae b abio ari naaaaoa b runo ortini ea b ergio artino oa b Giusee errara oao onaano b berto ironi peob Laberto ava an uaunoaaaeb Giuiana Gaba Visentins stage reits inue ago irete b auio Lievi e Soenen a irete b assio astri eaoeu irete b Gianaro ee Suen a Sue irete b eri e o oue irete b ee aveo unuirete b io aitani an aean irete b ngeo Longoni

Luigi Diberti

Dibertis engt teatria areer as inue eroranes in a eneana irete b auriio aarro a uea oa non a irete b nrea aieri gon irete b Luino Visonti ano uoo irete b Lua ononi a una irete b Lina erter apeo irete b Giorgio treer e o oue irete b Gianaro anni ou e irete b Gianaro ee e epe irete b Giorgio treer ee g gnu irete b Gianaro ee au irete b Gianaro bragia aneo irete b ater agiaro ng ea an aa oa irete b Lua ononi nonoenezano irete b Luigi De uso an aonaonoo irete b raneso avassi so ative in te inea e as aeare in nuerous is inuing e onae b auriio oni eongaoeo eaen b io etri eSeuono an See p bot b Lina erter oee b ario Viario eeone b Dino isi eeae b ieangeo ntonioni eanue b ui vati aeooe b raneso asei on aa a b ergio taino aua ea noe b inia orrini agna b ui vati ozo b Giuio ase ooouea b ristina oenini e Sena Snoe b Dario rgento uaa b Davie errario e a b Gabriee uino a a b raneso aasi aoa b Lua arbaresi ue on e a b teano asetto an Saunnppoon b eran ete is nuerous teevision aearanes inue roes in eon b anro oi ono b Gianni io oeopeaa b ntonio aena ogononaeggee b rano Girai nuoon appoa b Vittorio De isti a oa an uoegeo b Luigi erei euea an aoaoeeonne b nrea an ntonio rai aeao oa b Giorgio aitani Sopa b auio onivento n pee a no b Loovio Gasarini aoo e uaana b nrio oini a eo e ea ae o b Giuio ase e agoneuoe b Lua anrei berto ione an nna i ranisa nopeo b nrio oini poae b aaee ertes an e ege b Gianni Lere

naneo b lanro an an oao Sran ae an nannoapaea b nglo ongoni naneo b oao Sran an ggro oato a guea ue onagne b iaoo aiotti aa e aneo b abriio ota an aaaggo b nglo ongoni

Paolo Bonanni

Bonnani or in t tatr it laio ngno in ana eeoano eeoano a enea o Spae g popa Sogno una ezza onna aa oga ea ezza e ao aae e uno onzo un anaa ne o eo a alo irt b abril irilli in Spoounaoea paa b Monia aini in Saea uouoone b ioanni obaro aiinaeoaggoe b anil otantini in aeeeanguean b Paolo rrari in ooa i ina rn rit inl ue e ao b iano Sal ugn aa b laio ii aeneeeno b liabtta ooli eggeononaa b liabtta ooli oaaae b ianrano Mingoi eeoou an neoueonouanoongee b Maro llio iorana n all ati arr a inl aaran in agazzeueo b Paolo Poti oao Sran oolo obrti ini Salrno agazzeueob ianligi alron ianrano aotti oononappaua b ianligi alron oeeepoee b nrio loini ooanza aenzapeanza b aal Mrt aoo e uaana b nrio loini u e e b iano Manni an liabtta ooli e a ea a b Stano ali aenaun b laio Boninto an eooza b io aino

Mattia Sbragia

Sbragia a a rolii arr in t ina tliion alo a a bbr an tatr tart i tatrial arr aaring alongi i atr ianarlo in aong otr Sange neue e a zoauo oa eoueana oe anon oeon o oe au e oe an e o atr at nr t irtion o iorgio Strlr in eo an oaega tn nr Maro llio iorana in oeaeazzo ano n a i tatr irting bt it i on tt aoneeono i atr il rit inl poee b rano otti aoogea nneo b onino ri eneneeaaneb Mariio Poni eooae b i rrara an agazzn an ueo b atllano an Piolo Soa agazz agazze b Pi ati uon aae uon nno b igi onini e e b onino ri aao paao b Mario Monilli gue an anoneneo angoe bot b i ognai oen o b a or eaen b o ir an eaonoe b Ml ibon ong i nro or or tliion ar uouo b iliano Montalo e e o nono a b aal Maillo e an unen b Mario Miiroli agua b igi Sarina aa aoe b anil ari enn e an b aiano aiani ea ae uo b Srgio Martino e e aaepoe b o Sargnt aeoo b iorgio aitani n peeano eb oio aarini eounooneo b o aan eee b Pirrano Pingitor aopoeoe b o Maria San e en o eu oep epoe b aal Mrt oao epoe b lanro aon Senzaonn b abriio ota eaoepeenea b lanro aon ozoeab olla o oneungeeonen b Pirrano Pingitor e ape uoo ea peanza b iliana aani onno angeoe b inia orrini aoneaagone b o aan an uooaeegaeoe b i rrara Sin a or alongi igi Proitti on t ri aeaooa

Musi

composed, orchestrated and conducted by Franco Piersanti

Emergency Music Italy musical publications

performed by the Czech National Symphony Orchestra

guitar: Antonio Mascolo

Antonn Dvok, Concert for Cello in B minor, op. 104 ioloncello: Yoko Hasegawa Conductor Jan Chalupecky Czech National Symphony Orchestra

Parlami d’amore Mariù Ennio Neri – Cesare Andrea Biio) Biio C.E.M.S.A. publications

Gypsy iolin Biio Cherubini – Cesare Andrea Biio) Biio C.E.M.S.A. publications

Isn’t it Romantic Richard Rodgers – Lorenz Hart) SonyAT Music Publishing LLC

performed by the orchestra conducted by Andrea Ravizza Marco iola ), Michele Balma Mion violin), Alberto Capellaro cello), alerio Signetto ), Gianni irone tenor sa), Ivano Perino ), Beppe Bima ), Loris Bertot ), Luca Begonia ), Gian Paolo Petrini drums)

Domenico Scarlatti, Sonata K.32 in D minor performed by Claudio Colombo by kind permission

Gaetano Donizetti, Lucia di Lammermoor: Regnava nel silenzio sung by Lina Pagliughi Orchestra and Chorus E.I.A.R. of Turin conducted by Ugo Tansini

Ma l’amore no Michele Galdieri – Giovanni Danzi, 1943) sung by Lina Termini CURCI publications

E’ quel fotrot Angelo Ramiro Borella – Pippo Barzizza) sung by Chappell publications

Le ragazze di oggi Angelo Ramiro Borella – ittorio Mascheroni) sung by Daniele Serra Chappell publications

Ho un sassolino nella scarpa Fernando alci) sung by Natalino Otto Nazionalmusic publications