REBEL LAND

Transcript

REBEL LAND

RAI FICTION
Presents
A co-production
RAI FICTION
ALBATROSS ENTERTAINMENT S.p.A.
REBEL LAND
(TERRA RIBELLE)
Tv series 14x50’
A tv series by
CINZIA TH TORRINI
In association with
CASSIOPEA FILM PRODUCTION
produced by
ALESSANDRO JACCHIA
MAURIZIO MOMI
Credits not contractual
Rebel land – Pressbook – 12/10/10
Copyright © 2010 – Albatross Entertainment S.p.A
In this Rebel Land, the sky belongs to the sea and the sea to the
Mediterranean scrub.
Here you will doubt yourself, your sentiments, your honesty.
Oppressed by the fevers of malaria, you will rant and rave about
killing in the name of a better world, forgetting both what and from
whom you are escaping. The Rebel Land burns in your heart.
You'll wonder about what is right and what is wrong.
Where rights ends and abuse of power begins.
And above all, you will have to decide on the spur of a moment
whether or not to shoot, whether to kill or die.
(Peter Exacoustos)
www.terraribelle.it
www.albatrossfilm.it
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PRESENTATION
Maremma, second half of the 19th Century.
Immense landscapes, free-grazing flocks, deserted valleys, gently sloping and
eroded hills, jagged and inhospitable mountains, bluffs exposed to the winds of
the sea, murderous swamps, spine wood thickets as intricate as forests...
Two young "butteri," (cattlemen / cowboys) who've grown up together and are
united by a passion for adventure and a taste for the challenge posed by the
wild and savage nature of their land. Their different social origins will divide
them, but destiny will lead them to fall in love with the same woman.
Two aristocratic sisters of different character. One seeks marriage, the other
yearns for true love.
An intriguing romantic triangle enriched by a mystery the roots of which are
buried in a remote past and set in a suggestive historical framework.
An epic story of friendship, love, loyalty, but also of betrayal and vendetta, of
blazoned riches, but also unspeakable poverty and abuse.
A story on the blurred borderline between reality and legend, which recounts the
life, times and feats of our lone riders, the butteri and the brigands, but also of
the courageous women, who, defying destiny, struggled against injustice and
abuse, the whole against the backdrop of newly rising nation.
Maremma at the end of the Eighteen Hundreds is a difficult and rebellious land
in which the justice of yesteryear is denied in a struggle to affirm new rights, first
among which that of living, working and loving regardless of ones condition of
birth.
After being sorely tested by events, by ruthless enemies, by the hard and bitter
"land" itself, our protagonists will discover that justice and happiness are two
wild horses to be followed, deserved, tamed and if necessary transformed, for,
what today is law, might tomorrow very well be considered abuse.
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BRIEF SYNOPSIS OF THE SERIES
Maremma, end of the 19th Century. Andrea and Iacopo, two young butteri, have
grown up together. Iacopo is the son of the master, Achille Vincenzi; Andrea is
only a cattleman, the fatherless son of a servant. They live as friends and are
rivals only contests of herding and riding skills. Nonetheless their characters are
very different: Andrea's disposition is sunny and generous, whereas Iacopo is
more lunar and introverted.
But everything changes the day in which old Vincenzi informs his son that he
will soon have to marry a young Florentine noblewoman. She is the older
daughter of Count Giardini who, fallen on hard times after the collapse of the
Tiberina Bank, has accepted to allow one of his daughters to wed the son of a
cattle merchant, in exchange for the money to pay off his debts. The landowner
Vincenzi, superintendant of the Marsili Estates in Maremma, will also acquire,
through the arranged marriage - above and beyond a noble title - the vast lands
of the Prince. The prime mover of this exchange is none other than old Prince
Marsili himself, who entrusts the Count with a delicate and tricky mission:
uncovering the truth about the death of his only daughter, Princess Giulia, which
took place twenty years earlier right there sin Maremma.
During the long and perilous carriage ride taking the Count and his daughters
Elena and Luisa to that wild and distant land, the notorious band of Brigands,
led by Lupo, the legendary bandit who has eluded justice for close to twenty
years, attacks them and tries to kidnap the two girls. A daring rescue by Andrea
saves Elena. The boy courageously wounds Lupo and sets the other brigands
beating a hasty retreat. Andrea is instantly captivated by the allure of the young
and fascinating Countess Elena and she too, despite her dedication to the study
of science and medicine, is unable to hide, let alone control, the skip of
heartbeat caused by that young buttero. And so it comes to pass that when
Iacopo chooses her instead of her older sister Luisa, she being younger and
prettier, as his future bride, the friendship between the two youths as well as the
bond of affection between the two Countesses irreversibly snap.
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CREW
Director
Cinzia TH Torrini
Subject
Peter Exacoustos
Screenplay
Peter Exacoustos,
Stefano Piani
Director of photography
Marcello Lavintman
Production designer
Marcela Bazzano
Costume designer
Enrico Serafini
Editing
Ugo De Rossi
Director II unit
Paolo G. Marino
Music
Fabrizio Bondi
Casting
Simona Tartaglia, Eugenia Levin
Post production
Franco Casellato
Executive production
Alessandro Loy
Rai producers
Leonardo Ferrara, Paola Foffo
Produced by
Alessandro Jacchia, Maurizio Momi
Daniela
Bortignoni,
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CAST
Anna Favella
Elena
Rodrigo Guirao Diaz
Andrea
Fabrizio Bucci
Iacopo
Sabrina Garciarena
Luisa
Humberto Zurita
Lupo
Fabian Mazzei
Lucio
Mattia Sbragia
Conte Giardini
Maurizio Mattioli
Achille Vincenzi
Ivana Lotito
Maria
Alessandro Bertolucci
Dottor Tonali
Joaquin Berthold
Capitano Giacheri
Ralph Palka
Ingegner Hoffman
Danila Stalteri
Vittoria Hoffman
Sarah Maestri
Fiorella Cordelli
Elvira Villarino
Giovanna
Jorge D’elia
Principe Marsili
Carlos Kaspar
Tacca
Stella Galazzi
Ghenga
Ernesto Claudio
Durant
Pablo Sultani
Gobbo
Curzio Torrini
Cappellano
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FIRST EPISODE
Keen blue eyes and a proud countenance, Iacopo is the son of Achille
Vincenzi, the overseer of a sprawling estate which, by hook or by crook, he
plans to soon make his own. Prince Marsili, the landowner is old and without
heirs. Shrewd and ambitious, Achille Vincenzi is well acquainted with his master
and is certain that when he makes his offer, the old man will agree to sell off the
estate. And this is why Achille Vincenzi needs his son Iacopo: he needs him to
mature and prepare himself to become the new master of the great and wealthy
estate of the Grifalco. This is the only reason that he is presently taking interest
in the boy, a lad to whom from childhood through adolescence he had denied
not only affection, but even attention, except for short and terrifying visits in
which his presence meant only whippings and other assorted punishments. For
Iacopo gone are the happy days of his outings with his best friend Andrea - now
forbidden by Achille; no more "buttero" (Italian cowboy) antics in the fields with
all its horses, curses, hardships, fun and adventures. This is what according to
his father, Iacopo must learn - and WILL learn at any cost: how to give orders,
demand respect, how to be ruthless in his business dealings, and how to keep
the brigands at bay, first and foremost among whom, Lupo, the local
landowners' sworn enemy.
The same clear blue eyes, but with a decidedly sweeter expression and sunnier
disposition than Iacopo, Andrea is, on the contrary, of humble origins. He is the
one who leads his friend on the wildest and most carefree and dangerous jaunts
and undertakings, but behind his keen gaze there lurks a hidden tenderness
which, despite a rough and tough attitude makes, him beloved by one and all.
Andrea lives with his widowed mother in the village of Montebuono: thatched
roof huts, hovels for the peasants, cowherds, woodsmen, hired hands - in other
words - the poor who live along the fringes of the property administered by
Vincenzi.
Andrea had never met his father, a carter by trade. The man had been
murdered one night along the road to Viterbo. The "butteri" the cowboys,
declared that a band of brigands had slit his throat and that's why Andrea
despises those criminals who always seem to prey on the weak.
Giovanna, his mother, is worried about the boy's future: without a real trade or
education, too naive, and too attached to the master's son, trouble will surely
come his way. Giovanna knows that sooner or later, Andrea will be the only one
to pay for those youthful escapades and would really wish for her son, that wildheaded but sweetest of boys, to leave that accursed land, "before the rugged
Maremma hills and valleys can steal his heart."
But Andrea's heart, like that of Iacopo, is destined to be won over by the deep
and alluring eyes of Elena, and the love which both boys feel for her, will bring
their fraternal friendship to a crashing end.
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The young Countess Elena Giardini isn't a girl like all the others. Aside from her
ravishing beauty, combined with innate sensuality, Elena is intelligent and
vividly curious. Disguised as a boy to circumvent the strict prohibitions blocking
women from receiving higher education, she goes to the city where she enrolls
herself in the faculty of medicine, literally devouring thick and forbidding tomes
to satisfy her thirst for science and knowledge. Spirited and independent, she
shows scarce interest in respecting the stifling rules and social conventions. To
her they are nigh unto incomprehensible.
Elena has an older sister, Luisa, to whom she is quite attached. Luisa neither
possesses Elena's beauty nor her same enterprising spirit: she's a girl with
more "normal" aspirations, such as meeting the right man, falling in love, getting
married and having children. The two girls are the daughters of Count Giardini,
a Florentine nobleman who has just recently faced financial ruin, overwhelmed
by the collapse of the Tiberina Bank into which he had invested all his
substances, including the dowries of his two daughters.
The Count is offered a way out of his troubles by Prince Marsili, his old friend,
who suggests that he offer to concede the hand of his daughter Luisa to Iacopo,
the son of Achille Vincenzi, the superintendent of the Grifalco Estate. In this
manner, the Count will have all his debts paid off and Vincenzi, thanks to the
noble title acquired through marriage, will at last be able to purchase from the
selfsame Prince Marsili the estate he supervises and which since time
immemorial he has been longing for.
The Prince also asks the Count to take advantage of his jaunt to Maremma to
look into the untimely end of his only daughter Giulia, who had apparently
committed suicide twenty years earlier. The Prince has received an ambiguous
signal. Someone, apparently a roving friar who had come by asking for alms
during a local feast, had delivered him an antique silver face powder mirror
which Giulia had always kept on her person, in fond memory of her deceased
mother.
A few days later, the Giardinis set off for Maremma, heading towards the Castle
of Roccaccia, the home of the Vincenzis, where the official engagement
between Iacopo and Luisa is to take place. Along the way, however, their
carriage is attacked by a band of brigands. Materializing as if out of thin air, the
gang surrounds the carriage and Lupe looms into view in front of Elena's
terrified eyes. The prompt and courageous intervention of Andrea, who is
roused to action by the shouts and gunshots, foils the attempted kidnapping of
the two girls, wounding Lupo and scattering the rest of the bandits in a furious
battle.
And it is there, in that extreme situation, that Andrea sees Elena for the first
time: a meeting that will forever change his life and hers as well.
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Iacopo is also hopelessly smitten by the sight of Elena, who, escorted by
Andrea, arrives with the rest of her family at the Roccaccia Castle; and while
Luisa, with mounting enthusiasm entertains the thought of marrying that wealthy
and unexpectedly handsome young man, Iacopo doesn't hide the fact that he is
far more interested in Elena. His open courtship of the "wrong" girl places one
and all in a state of deep embarrassment.
Alarmed and exasperated by the turn of events, Luisa openly confronts Elena,
mistakenly blaming her for wanting to steal away her betrothed. She angrily
warns her sister to stay away from him. Luisa is hurt: otherwise she would have
noticed that her sister's heart is already beating only for Andrea.
As preparations for the engagement party get underway, Achille Vincenzi and
Count Giardini discuss the fine points of their agreement. The sum required by
the Count to cover the losses of his bad investment is quite substantial and
Achille Vincenzi doesn't hesitate to humiliate him more than necessary when he
finally declares his willingness to cover it. Naturally, in exchange, Vincenzi will
obtain a noble title for his son, but perhaps this is not the only thing he wishes to
obtain from his future in-law. Vincenzi, in fact, seems more interested in the
acreage that the Prince will cede to him as part of the young Countess's dowry,
than the marriage itself. That real estate is necessary for one of his ambitious
projects: building a railway line towards the sea and connecting it to the coastal
line already in place. The connection will allow him to deliver his cattle directly
to Rome: horses for the Army and meat for the burgeoning markets of the
Capital. To this end, he has already made secret agreements with a shady
politician of French origin: Senator Durant.
Assisted by his trusty and violent game warden Lucio, and in cahoots with the
corrupt Politician, Achille has organized a fraud against the young Italian State.
The funds destined to the clearing of the malarial marshlands and to the
improvement of the living conditions of the local populace will instead be utilized
for the construction of the private railway line crossing the Grifalco Estate.
Vincenzi's motivation is entirely personal and greedy, but the railway would
anyhow bring progress and work to Maremma. Not even he knows that his
partner in this business, Senator Durant, has concocted an entirely different
plan. He'll surely bring those funds to Maremma, but that's not where they'll be
staying for very long, and certainly not for financing important public works.
All taken up by the ravishing Elena, Iacopo resolves on marrying her instead of
Luisa. Consequently, it is with unspeakable disappointment that he notices the
sentiment that has blossomed between the woman he desires and Andrea, and
this sparks off a firestorm of jealousy. A jealousy which causes a discussion in a
tavern to degenerate into their first real fight…
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BRIEF PLOT OUTLINES
First episode
Maremma, end of the 19th Century. Andrea, the son of a servant, is a young
buttero who lives in the town of Montebuono. His best friend, Iacopo, is instead
the son of the master, Achille Vincenzi, the ruthless foreman / superintendant of
a huge estate belonging to the wealthy Prince Marsili. The destiny of Andrea, as
well as that of Iacopo, is about to change on account of a woman who is soon to
enter their lives: the Countess Elena Giardini, a girl of rare intelligence and
beauty. Elena has an older sister, Luisa, to whom she is very attached. Luisa
aspires only to marry and have children. The two girls are the daughters of
Count Giardini, a Florentine nobleman who has fallen into financial ruin. The
kindhearted Prince Marsili, an old friend, proposes that he offer the hand of
Luisa to Iacopo: the Count will then have all his debts settled and Vincenzi will
obtain a noble title and the estate which he has always dreamed of making his
own. The Prince, in exchange, asks the Count to investigate the tragic death of
his only daughter Giulia, a suicide that took place in Maremma in very
mysterious circumstances more than twenty years earlier.
The carriage with the countesses traveling to Maremma is attacked by the
brigands. As fate would have it, Andrea's timely and courageous intervention
saves the two girls...
Second episode
Unjustly accused, Andrea escapes hotly pursued by Iacopo, the game warden
Lucio and his bravoes; interrogated by the Carabinieri, Countess Luisa, who
had witnessed the murder, confirms her invented version of the facts. A secret
and diabolical pact unites her with Iacopo: silence about the true culprit of the
murder in exchange for marriage with the young Vincenzi.
Disoriented by events and by the ambiguous attitude of Luisa, Elena can barely
recognize her sister, and, though troubled by the sentiment she feels for
Andrea, refuses to believe that the boy could have committed murder.
In the meantime, Iacopo receives, as a legacy from his mother, an old and
faded letter. What is revealed in the missive leaves him disconcerted.
Even Lupo, the leader of the brigands, is on the lookout for Andrea. He wants to
punish him for the wound he inflicted during the attack on the carriage of the
Counts Giardini…
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DIRECTOR'S NOTES
For the construction of a series like Rebel Land, I dedicated many years of
work, a dedication that was oftentimes total. The project was born of my passion
for horses and love for a particular territory. Ever since I was a little girl,
whenever there was talk about Maremma, I would imagine it as a triumph of
wild and savage nature, rough, rugged, difficult and fascinating, the kind of
place where only grownups go hunting. Through the years, I learned to explore
it on horseback and I listened to the many stories about the butteri and brigands
of the late 19th Century that were told in the evenings in front of the fireplace.
They were adventurous stories, about a hard life, social injustices and
enormous estates left uncultivated for pasturelands, about towering bluffs and
castles overlooking forests and swamps. The idea behind this series was
precisely that of uniting, in a TV Drama, several emblematic historical markers,
like the battles against brigandry, the collapse of the Roman Bank, the
vicissitudes of Pia de' Tolomei - of Dantesque memory - with the use of various
genres such as melodrama, adventure, historical drama, until creating a new
and alternative type of narration capable of being at once historical and modern,
one that mixes sharply contrasting "flavors" in a new prototype.
With Peter Exacoustos, the screenplay writer, we endeavored to recreate a
world that had the savor of a saga, similar to how a series in the 70's such as
"Roots" had captivated me.
Rai Fiction strongly believed in this project proposed together with my partner
Ralph Palka with the Cassiopea Production Company. It took a gestation period
of years, amidst drafts and redrafts of many screenplay versions, scouting
missions, both on horseback and other conveyances, exhausting photographic
explorations in the Alinari Archives, stacks of books, historical consultancies like
that of Professor Ciufoletti, exhibits of the "Macchiaioli" Movement painters such
as Fattori and Signorini, to pave the way for this ambitious - and expensive dream to become reality! Fundamental in realizing this dream were Alessandro
Jacchia and Maurizio Momi, who fell in love with the project and who, through
their Company, Albatross Entertainment, created a coproduction with Rai,
thereby giving me sufficient means to reach the qualitative standards required of
such an ambitious series.
As had been the case for "Elisa di Rivombrosa," for this story I preferred to look
for new and "fresh" faces, capable of lending to the series that sense of novelty
and originality that I desired. Discovering new talents is tough, but also very
gratifying, and this time as well, after months and months of casting, the four
young protagonists came out almost spontaneously, as if by magic, with all their
youthful dedication and sensitivity, ready to immerse themselves into complex
and multifaceted roles.
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Shooting a costume film always entails great complexity, especially in a multiepisode series. You're always surrounded by an enormous circle of caravans,
reminiscent of a circus. The set department alone had innumerable painters,
builders, decorators. And the same was true for costumes: seamstresses galore
and a hangar full of costumes which in large part had been expressly made for
the film by Enrico Serafini. Many of the garments worn by the nobles were
chosen at the Tirella Costume House, famous for having created the costumes
for "The Leopard." One of the things I enjoy most about this profession is
creating the characters with their various mindsets through make-up / hair and
Costume tests. In this case, the tests began with the choice of fabrics and
colors.
I was able to avail myself of artistic collaborators joining me in the search of a
visual language somewhat set apart from that of the TV Dramas we've become
accustomed to. The Director of Photography, Marcelo Lavintman was able to
interpret and return my sense of imagery, creating a highly recognizable and
eminently cinematographic photography, with the care and dedication lavished
on every detail that have always distinguished my work.
In many scenes I was particularly inspired by the films of Sergio Leone, with his
epic gaze on the stories, those images immortalized in our collective memory,
their unforgettable scores, and the ever-present touch of irony in the
construction of his characters. This inspiration and passion was shared with
Ugo de Rossi, expert editor, vaunting a prestigious curriculum, with whom I've
been working for quite some time and who in optimal fashion was able to assist
and advise me throughout the manifold phases that such a difficult and inspiring
product must face before coming to fruition in front of its television audience.
The shooting presented difficulties due to the pristine settings chosen as
locations, pristine and therefore often a struggle to reach and operate in, also
on account of the great many horses we had in so many of our scenes and for
the numerous action sequences. Nonetheless it was a stimulating adventure. I
managed to create, as I always try to do, a set comprised of diverse but
synergic squads. A great big family in which everyone works for the realization
of a project whose fate is dear to the heart and mind of one and all and where
one breathes an air of collaboration and respect. I've always believed that this
was the only way to obtain from all my worthy collaborators the maximum in
terms of commitment and willingness: listening and having myself listened to, so
as to succeed in bringing together all considerations, even the most diverse and
original, canalizing energies in the most constructive manner.
Rebel Land also required special attention in the post-production phase, both
on account of the use of computer graphics and my near maniacal search for
sounds and effects to recreate the atmospheres of a legendary Maremma that
hardly exists anymore.
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The composer, young Fabrizio Bondi, with his themes, his finely crafted
marriage of orchestra and single instruments, some with unfamiliar sonorities
such as the duk-duk, was able to create for Rebel Land a unique and
recognizable musical identity made up of epic and dramatic themes, melancholy
airs, as well as warm and sentimental passages.
What's more, she being a good friend of mine, Gianna Nannini regaled us with
her stirring interpretation of the famous popular song "Maremma Amara" (Bitter
Maremma), which through her vibrant and mordant tones help render several
moments of the series all the more poignant.
In a word, Rebel Land is a series that has my touch in every scene, each frame,
in the choice of music, editing, photography; it is the fruit of hard work and
passion for a story I felt strongly compelled to share. Naturally hard work means
something else when the job is a labor of love. But the dedication, attention,
sweat and long hours one willingly pours into a film so intense and
overpowering as this... what else can it be but a form of love?
I hope, that with the attentive and constant collaboration of my producers, and
the structure of Rai Fiction, always able to advise me and within useful reach
during the whirlwind phases of production, I have succeeded in telling a story
capable of captivating audiences and bringing together in front of their TVs, an
ocean of families.
Cinzia TH Torrini
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NOTES FROM THE SCRIPTWRITERS
An historical account of the period describes how a group of butteri once
defeated the legendary cowboys of the Far West, led by none other than Buffalo
Bill, in a contest of gunslinging and horsemanship. Till this day, after more than
a hundred years, it is mentioned in the media. The skills and talents of our
homegrown horsemen and their chargers, a pure Maremma breed as sturdy
and resistant as the mustangs of the great American prairies, can swell a
generation of children grown up in the myth of the Far West with pride, but in
truth, today, those stories, no matter how factual, somehow appear to be as
incredible and distant as ancient fairytales. It is told that the butteri were
exceptional herdsmen, capable of remaining on the saddle for weeks at a time,
and of hunting and shooting like the best cowboys of American Western lore.
And yet, few nowadays can imagine that a veritable Far West with its simple
and brutal laws, centered on the need for survival in a world full of hardship,
calamity and abuse truly existed in the Central Italy of little more than a century
ago. One can honestly say that in Maremma, a land divided between the Grand
Duchy of Tuscany and the Papal States, and then eventually joined together
under the Tricolor flag of a united Italy, only the Indians were missing. Bandits,
cowboys, sheriffs, sprawling ranches and herds grazing out in the wild, villages
with saloons, and small out-of-the-way train stations: all the other elements of
the American West were present albeit in more cultural forms. There were the
brigands, the butteri, and Carabiniere Captains as well as the Functionaries of
the State Police, and the big landowners. And of course there were the silver
and gold mines, and the taverns of ill-repute where men would go to drink,
gamble and seek the company of easy women. But whereas in the endless
Prairies of the American West one breathed the fresh air of freedom, under a
convincing illusion of an open-ended frontier, in Maremma, at the time an
insalubrious land, still afflicted by the scourge of malaria, the legacies of a
millenary history, and above all the rigid barriers that divided men into rich and
poor, educated and illiterate, boorish peasants devoid of rights and free citizens
of a reborn nation, made life extremely difficult for the vast majority and at best
rather dicey for the remaining lucky few. And so it was bearing in mind the
hallmarks of a classical American Western that we imagined a TV series set in
this rebel land with its extraordinary mix of savagely beautiful landscapes and
deeply human conflicts; a series dwelling upon a particularly significant period
of Italian History: a series recalling our own West, the life, times and deeds of
our own legendary riders, bandits and gunslingers, and our own courageous
women who in defiance of destiny, fought against the oppressions and
injustices of their time, while in the background, a new nation was rising from an
ancient civilization. We concentrated on a story set in the Maremma of the late
19th Century, one that would convey TV audiences to the scrublands bordering
the sea; one containing the dramatic vicissitudes of a love story, with a clash
between the right of happiness and a fate of imposed misery, with adventures in
a wild and oftentimes hostile nature - almost an abode of the soul - where true
love meant a desperate struggle and true freedom a fight to the death.
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CURRICULA ATTORI
ANNA FAVELLA (Elena Giardini)
TELEVISION
“DON MATTEO 7”, directed by Giulio Base, 2009
“ENRICO MATTEI. L’UOMO CHE GUARDAVA AL FUTURO”, directed by G.
Capitani, 2008
THEATER
“DUE DOZZINE DI ROSE SCARLATTE”, by A. De Benedetti, directed by R. Lucci,
2008
“BEING HAMLET”, (Lipsia-Germania) directed by L. Ferrari Carissimi e F. Morgan,
2008
“IL GOBBO” di S. Mrozek, directed by V. Orfeo, 2008
“TI AMO…DA MORIRE”, by F. Draghetti and R. Stocchi, 2008
“AMIANTO”, by L. Ferrari Carissimi, 2007
“TUTTI I COLORI DELLA NOTTE”, by A. Lauritano, 2007
“CANTO DI NATALE”, by C. Dickens, directed by A. Lauritano, 2007
“IL MEDICO DEI PAZZI”, by E. Scarpetta, directed by R. Lucci, 2006
“BLU NOTE BAR”, by S. Benni, directed by R. Lucci, 2006
“IO, MOLIERE, CORNUTO IMMAGINARIO E MEDICO PER FORZA”, directed by
R. Lucci, 2005
“SARTO PER SIGNORA”, by G. Fedeaux, directed by R. Lucci, 2005
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RODRIGO GUIRAO DIAZ (Andrea Cristofani)
TELEVISION
“BOTINERAS”, tv series, Argentina, 2009
“ATTRACCION X4”, tv series, Argentina, 2008
“PATITO FEO”, tv series, Argentina, 2007
“AMAS DE CASA DESESPERADAS”, tv series, Ecuador - Colombia, 2006
“1/2 FALTA”, tv series, Argentina, 2005
“PARAISO ROCK”, tv series, Argentina, 2005
“LA NINERA”, tv movie, Argentina, 2005
“REBELDE WAY”, tv series, Argentina, 2002-2003
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FABRIZIO BUCCI (Iacopo Vincenzi)
CINEMA
“PAPARAZZI”, directed by Pier Francesco Pingitore, 2007
“JUMPER”, directed by Doug Liman, 2006
“L’INCHIESTA”, directed by Giulio Base, 2006
TELEVISION
“TERRA RIBELLE”, directed by Cinzia Torrini, 2009/10
“REX 3”, directed by Marco Serafini, 2009
“DONNA DETECTIVE 2”, directed by Fabrizio Costa, 2009
“DOC WEST”, directed by Giulio Base -Terence Hill, 2008
“PAOLO VI”, directed by Fabrizio Costa, 2008
“I CESARONI 3”, directed by Francesco Pavolini, 2008
“BUONGIORNO CON…”, 2008
“ALTRE STORIE PER IL COMMISSARIO VIVALDI”, directed by L. Odorisio, 2008
“RACCONTAMI CAPITOLO 2”, directed by R. Donna T. Aristarco, 2008
“VITA DA PAPARAZZI”, directed by P. F. Pingitore, 2007
“SETTE VITE…COME I GATTI”, directed by Mariano Lamberti, 2007
“COLPI DI SOLE”, 2007
“FRATELLI DI…”, directed by Claudio Bonivento, 2007
“CHIARA E FRANCESCO”, directed by F. Costa, 2007
“GLI ULTIMI GIORNI DI POMPEI”, directed by G. Base, 2006
“EXODUS”, directed by G. Calderone, 2006
“JOHN PAUL II”, directed by John K. Harrison, 2005
“CALLAS E ONASSIS”, directed by G. Capitani, 2005
“SAN PIETRO”, directed by Giulio Base, 2005
“UN POSTO TRANQUILLO 2”, directed by C. Norza, 2005
“DON BOSCO”, directed by L. Gasparini, 2004
“R.I.S.”, directed by A. Sweet, 2003
“DON MATTEO 4”, directed by Giulio Base, 2003
“MARIA GORETTI”, directed by Giulio Base, 2003
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SABRINA GARCIARENA (Luisa Giardini)
CINEMA
“AMOR EN TRANSITO”, Argentina, directed by Lucas Blanco, 2010
“SOLOS EN LA CIUDAD”, Argentina, directed by Diego Corsini, 2009
“PAGAFANTAS”, Spagna, directed by Borja Cobeaga, 2009
“FELICITAS”, Argentina, directed by Maria Teresa Costantini, 2009
“TOCAR EL CIELO”, Argentina-Spagna, directed by Marcos Carnevale, 2008
“CONDON EXPRESS”, Spagna, directed by Luis Prieto, 2007
“LA LEYENDA DEL GAUCHITO GIL”, Argentina, directed by Ricardo Becher,
2006
TELEVISIONE
“TERRA RIBELLE”, serie tv, directed by Cinzia TH Torrini, 2009/10
“CUESTION DE SEXO”, serie tv, Spagna, 2008
“LA LEY DEL AMOR”, film tv, Argentina, 2007
“SE DICE AMOR”, serie tv, Argentina, 2006
“AMOR EN CUSTODIA”, serie tv, Argentina, 2005
“UNA FAMILIA ESPECIAL”, serie tv, Argentina, 2005
“CULPABLE DE ESTE AMOR”, film tv, Argentina, 2004
“COSTRUMBRES ARGENTINAS”, film tv, Argentina, 2003
“SON AMORES”, serie tv, Argentina, 2002
“REBELDE WAY”, serie tv, Argentina, 2001
“ENAMORARTE”, serie tv, Argentina, 2001
“PH”, serie tv, Argentina, 2001
“VERANO DEL 98”, serie tv, Argentina, 1999
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MAURIZIO MATTIOLI (Achille Vincenzi)
CINEMA
“SCUSA SE È POCO”, directed by Marco Vicario
“SFRATTATO CERCA CASA EQUO CANONE”, directed by Pier Francesco
Pingitore
“CASA MIA CASA MIA”, directed by Neri Parenti
“ROSSINI ROSSINI”, directed by Mario Monicelli
“NOTTATACCIA”, regia Duccio Camerini
“FANTOZZI – IL RITORNO”, directed by Neri Parenti
“NEL CONTINENTE NERO”, directed by Marco Risi
“VACANZE DI NATALE 95”, directed by Neri Parenti
“IN BARCA A VELA CONTROMANO”, directed by Stefano Reali
“TIFOSI”, directed by Neri Parenti
“FRATELLI D’ITALIA”, directed by Neri Parenti
“IL CIELO IN UNA STANZA”, directed by Carlo Vanzina
“IL TRAMITE”, directed by Stefano Reali
“IL PRANZO DELLA DOMENICA”, directed by Carlo Vanzina
“RAUL”, directed by Andrea Bolognini
“QUESTA NOTTE È ANCORA NOSTRA”, directed by Luca Miniero e Paolo
Genovese
“CARAIBI LAST MINUTE”, directed by Carlo Vanzina
“IMMATURI”, directed by Paolo Genovese
TELEVISION
“TERRA RIBELLE”, directed by Cinzia TH Torrini, 2009/10
“COME UN DELFINO”, directed by Stefano Reali, 2009
“UN COCCODRILLO PER AMICO”, directed by Francesca Marra, 2009
“PIPER”, directed by Francesco Vicario, 2009
“VIP”, directed by Carlo Vanzina, 2008
“IL SANGUE E LA ROSA”, directed by Salvatore Samperi e Luigi Parisi, 2008
“UN CICLONE IN FAMIGLIA 3”, directed by Carlo Vanzina, 2007
“I CESARONI”, directed by Stefano Vicario, 2006
“UN CICLONE IN FAMIGLIA 2”, directed by directed by Carlo Vanzina, 2006
“UN CICLONE IN FAMIGLIA”, directed by Carlo Vanzina, 2005
“O LA VA O LA SPACCA”, 2005
“UNA STORIA ITALIANA”, directed by Stefano Reali
“I RAGAZZI DEL MURETTO”, directed by Lodovico Gasparini
“LE RAGAZZE DI PIAZZA DI SPAGNA DUE”, directed by Francesco Lazotti
“CUCCIOLI”, directed by Paolo Poeti
“ANNI 60”, regia dei Fratelli Vanzina
“LA PALESTRA”, “LA CASA DELLE BEFFE”, “IL DECAMERINO”, “TRE
STELLE”, “DOMANI UN’ALTRA TRUFFA”, “DI CHE VIZIO SEI?”, directed by Pier
Francesco Pingitore
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MATTIA SBRAGIA (Conte Giardini)
CINEMA
“OCEAN'S TWELVE”, directed by Steven Soderbergh, 2004
“LA PASSIONE DI CRISTO”, directed by Mel Gibson, 2004
“FACCIAMO PARADISO”, directed by Mario Monicelli, 1995
“BUON NATALE... BUON ANNO”, directed by Luigi Comencini, 1989
“MIA MOGLIE È UNA BESTIA”, directed by Castellano e Pipolo, 1988
“IL CASO MORO”, directed by Giuseppe Ferrara, 1986
“IL BURBERO”, directed by Castellano e Pipolo, 1986
“GRANDI MAGAZZINI”, directed by Castellano e Pipolo, 1986
”NIPOTI MIEI DILETTI”, directed by Franco Rossetti, 1974
TELEVISION
“IL MARESCIALLO ROCCA 5”, directed by G. Capitani, 2005
“DON GNOCCHI – L’ANGELO DEI BIMBI”, directed by Cinzia TH Torrini, 2004
“LO ZIO D'AMERICA”, directed by R. Izzo, 2004
“IL MARESCIALLO ROCCA 3”, directed by J. Sanchez, 2003
“IL MISTERO DEL CORTILE”, directed by P. Poeti, 2002
“UN PRETE TRA NOI 2”, directed by L. Gasparini, 2001
“CADAVERI ECCELLENTI”, directed by R. Tognazzi, 2001
“IL CONTE DI MONTECRISTO”, directed by J. Dayan
“LES HERITHIERS”, directed by J. Dayan
“UN PRETE TRA NOI”, directed by G. Capitani
“IL MARESCIALLO ROCCA”, directed by G. Capitani
“LA BIBBIA”, directed by J. Sargent
“DIRE DI NO”, directed by D. Partexano
“LEPRE CON FACCIA DA BAMBINA”, directed by G. Serra
“LETTERA MORTA”, directed by S. Genni
“IL PELLICANO”, directed by V. Barino
“VITA DI EINSTEIN”, directed by F. Lemee'
“L'ITALIA DIVISA IN DUE”, directed by A. Giannarelli
“IL CUCCIOLO”, directed by T. D'alfonso
“CHE FAI RIDI?”, directed by P. F. Pingitore
“I GELOSI”, directed by G. SERRA
“NATA D'AMORE”, directed by D. Tessari
“DELITTO E CASTIGO”, directed by M. Missiroli
“CALIGOLA”, directed by L. Squarzina
“VITA DI GRAMSCI”, directed by R. Majello
“LA COSA SULLA SOGLIA”, directed by A. Frazzi
“CIRCUITO CHIUSO”, directed by G. Montaldo
“IDILLIO”, regi di N. RISI
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SARAH MAESTRI (Fiorella Cordelli)
CINEMA
“LEI DUNQUE CAPIRA’”, directed by G. Pressburger, 2010
“NOTTE PRIMA DEGLI ESAMI OGGI”, directed by F. Brizzi, 2007
“NOTTE PRIMA DEGLI ESAMI”, directed by F. Brizzi, 2006
“IL NOSTRO MESSIA”, directed by C. Serughetti, 2005
“PUNTO DI VISTA” (short-movie), directed by M. Banzato, 2005
“IL CUORE ALTROVE”, directed by P. Avati, 2002
“OLTRE AL CONFINE”, directed by R. Colla, 2001
“I CAVALIERI CHE FECERO L’IMPRESA”, directed by P. Avati, 2000
TELEVISION
“IL CAMPIONE E IL BANDITO”, directed by L. Gasparini, 2010
“CASO DI COSCIENZA”, directed by L. Perelli, 2009
“TERRA RIBELLE”, directed by C. Th Torrini, 2009-10
“REX 3”, directed by M. Serafini, 2009
“LA FRECCIA NERA”, directed by F. Costa, 2006
“BENEDETTI DAL SIGNORE”, directed by F. Massaro, 2004
“AMICHE”, directed by P. Poeti, 2004
“CENTOVETRINE”, directed by AA.VV, 2003/04
RADIO
“NON VOGLIO MICA LA LUNA”, Autrice e conduttrice, RadioDue, 2008
IVANA LOTITO (Maria)
CINEMA
“LETTERS TO JULIET”, directed by Gary Winick, 2009
“CADO DALLE NUBI”, directed by G. Nunziante, 2009
“A VOLTE VERSO SERA”, directed by E. Barbani, 2007
“HOTEL MEINA” (protagonista), directed by C. Lizzani, 2007
TELEVISION
“IL RESTAURATORE”, directed by Capitani/Basile, 2010
“TERRA RIBELLE”, directed by C. TH Torrini, 2009/10
“PAURA D’AMARE”, directed by V. Terracciano, 2009
“PUCCINI, L’ULTIMO VIAGGIO”, directed by Volker Shmidt, 2008
“IL CORAGGIO DI ANGELA” (coprotagonista), directed by L. Manuzzi, 2007
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ALESSANDRO BERTOLUCCI (Dottor Tonali)
CINEMA
“FENOMEN” (protagonista), directed by T. Paradowicz, 2008
“QUELL’ESTATE”, directed by G. Zampagni, 2007
“L’INCHIESTA”, directed by G. Base, 2005
“GOTA ROJA: LINDSAY KEMP”, directed by P. Benedetti, 2003
“CALLAS FOREVER”, directed by F. Zeffirelli, 2002
“METRONOTTE”, directed by F. Calogero, 1999
“UN TÈ CON MUSSOLINI”, directed by F. Zeffirelli, 1998
“QUANDO SI PARLA DI AMORE”, directed by M. Pedani, 1997
“TRE”, directed by C. De Sica, 1996
TELEVISION
“MIA MADRE”, directed by R. Tognazzi, 2010
“UNA SERA D’OTTOBRE”, directed by V. Sindoni, 2009
“UN MEDICO IN FAMIGLIA 6”, 2009
“UN MEDICO IN FAMIGLIA 5”, directed by Marchetti/Giordani/Leoni, 2006/07
“LE RAGAZZE DI SAN FREDIANO”, directed by V. Sindoni, 2006
“RACCONTAMI”, directed by R. Donna / T. Aristarco, 2006
“L’INCHIESTA”, directed by G. Base, 2005
“I COLORI DELLA GIOVENTÙ”, directed by G. Calderone, 2005
“DON MATTEO 5”, directed by G. Base, 2005
“GENTE DI MARE”, directed by V. De Sisti, 2005
“UN POSTO AL SOLE”, 2004/05
“CARABINIERI 4”, directed by R. Mertes, 2004
“S. GIOVANNI-L’APOCALISSE”, directed by R. Mertes, 2001
“VIVERE”, 2000/01
“AVVOCATI”, directed by G. Ferrara, 1998
“STATO DI EMERGENZA”, directed by C. Lizzani, 1993
“DELITTI PRIVATI”, directed by S. Martino, 1992
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HUMBERTO ZURITA (Lupo)
TELEVISION
“SECRETOS DEL ALMA”, 2008
“OPERAZIONE PILOTA”, directed by Umberto Marino, 2007
“MARINA”, 2006
“LOS PLATEADOS”, 2005
"VOLVER AL PARAISO", 2004
"LADRÓN DE CORAZONES", 2003
"AGUA Y ACEITE", 2002
" EL CANDIDATO", 1999
"ALGUNA VEZ TENDREMOS ALAS", 1997
" LA ANTORCHA ENCENDIDA", 1996
" EL VUELO DEL ÁGUILA", 1994
“MORENA”, 1994
"CAPRICHO", 1993
“UN INSTANTE PARA MORIR”, 1993
“IMPERIO DE LOS MALDITOS”, 1993
“PELO SUELTO AKA LOOSE HAIR”, 1993
“PERSECUCIÓN INFERNAL”, 1992
“AMOR QUE MATA”, 1992
“ASALTO”, 1991
“MUERTE CIEGA”, 1991
"AL FILO DE LA MUERTE", 1991
“DIANA, RENÉ, Y EL TÍBIRI”, 1988
"ENCADENADOS", 1988
"DE PURA SANGRE", 1986
“LUNA CALIENTE”, 1986
“DE MUJER A MUJER”, 1986
“EL TRES DE COPAS”, 1986
" EL MALEFICIO", 1983
“BAJO LA METRALLA”, 1983
“LUNA DE SANGRE”, 1982
“EL DÍA QUE MURIÓ PEDRO INFANTE”, 1982
" EL DERECHO DE NACER", 1981
"SOLEDAD", 1980
“RASTRO DE MUERTE”, 1981
"QUERER VOLAR", 1980
"MUCHACHA DE BARRIO", 1979
" UNA MUJER II", 1978
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LA REGISTA CINZIA TH TORRINI
Born in Florence. In 1973 receives diploma at the Linguistic Lyceum of
Florence. From 1974 to 1976 studies at the University, faculty of Letters and
Philosophy. Simultaneously attends a photography course. Starts working, first
in Milan at a photographic studio specialized in design, then as a photo-reporter
for a motorcycling magazine. Participates with some of her photos at collective
exhibitions. From October of 1976 till 1981, attends the Cinematography
Academy (the Hochschule fuer Film und Fernsehen) in Munich. In 1977, shoots
her first documentary for Bavarian TV: "Prima o Poi...", (Sooner or Later), the
story of the last ferryman along the Arno before a new bridge was built. A way
to have his right to a pension recognized, to block a reality that was ending, but
also to tell the story of her origins: having been born and raised near that place.
Since then, commitments permitting, she travels to Africa, Asia Minor, Yemen,
India, Nepal, China, North and South America, Australia etc; in some of which
places she has shot documentaries or directed films.
In her films, no matter if comedies or thrillers, one notices a subtle attention
given to social issues and the problems afflicting modern societies.
CINEMA AND DOCUMENTARIES
“LA BAGNAIA, IL SOGNO DI MARISA MONTI RIFFESER”, 2009
“UN INCONTRO CON CHIARA”, 2007/08
“INTOLERANCE” (EPISODIO “LA BUONA AZIONE QUOTIDIANA”), 1996
“ESERCIZI DI STILE” (EPISODIO “TI MANGEREI DI BACI”), 1996
“EROTIC TALES” (EPISODIO “CARAMELLE”), 1995
“HOTEL COLONIAL”, 1985/86
“GIOCARE D'AZZARDO”, 1982
“ANCORA UNA CORSA”, 1981
TELEVISION
“TERRA RIBELLE”, 7X100’, 2009/10
“TUTTA LA VERITA’”, 2X100’, 2008/09
“DONNA DETECTIVE”, 6X100’, 2006/07
“ELISA DI RIVOMBROSA 2”, 13X100’ (DIRECTED BY PRIME 6), 2004/05
“DON GNOCCHI”, 2X100’, 2004
“ELISA DI RIVOMBROSA”, 26X50’, 2001/02/03
“PICCOLO MONDO ANTICO”, 2X100’, 2000
“OMBRE”, 2X100’, 1998/99
“IQBAL”, FILM TV, 1998
“KIDNAPPING - LA SFIDA”, FILM TV, 1997
“TEO”, FILM TV, 1996/97
“MORTE DI UNA STREGA”, 2X100’, 1995
“L'OMBRA DELLA SERA”, FILM TV, 1993
“L'AQUILA DELLA NOTTE”, FILM TV, 1992
“DALLA NOTTE ALL'ALBA”, 2X100’, 1991
“LA COLPEVOLE”, FILM TV, 1990
“PLAGIO”, FILM TV, 1989/90
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24
Albatross Entertainment SpA
Albatross
Entertainment Spa
was
formed
in Rome in
2003,
combining Alessandro Jacchia's development and production experience
with Maurizio Momi's distribution skills. The company specializes in the
production of Tv Fiction and Feature Films, today it has become one of the most
competitive and dynamic in the sector.
Albatross has invested in a strong creative affairs department, projects are
developed in house, the company co-produces all of its product line, retaining
most of the underlying territories' rights and formats.
As it faces the market as one of the few italian true Independent Producers, its
current roster of italian clients includes RAI, Mediaset, Sky, La7, RaiCinema.
Constantly growing, it has produced and owns a catalogue of over fifty
miniseries' and series' prime time 100' episodes in most worldwide territories,
which have earned high ratings appraisal, won applause from critics, and have
been noted at prestigious international festivals.
At the core of the company is a team of professionals who excel at being
content providers; now Albatross is expanding in complementary areas:
Entertainment Shows, Feature Films, Book publishing.
MISSION
To raise questions, generate emotion and stimulate reflection, proposing
original and highly popular content able to entertain a large and heterogeneous
audience. We aim to contribute to the growth of the national audiovisual
industry in terms of quality and competition, to responde to the challenge of the
global market, creating prototypes that can be commercialized through the
confrontation with our international partners and broadcasters.
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25
PRODUCTIONS
Post-production Phase:
- “DESTINY'S SHADOW”, TV series 6x100’. Directed by Pier Belloni, with Romina
Mondello, Adriano Gianninilo e Antonio Cupo, Canale5.
- “THE RESTORER”, TV series 26x50’. Directed by Giorgio Capitani and
Salvatore Basile, with Lando Buzzanca e Martina Colombari, RaiUno.
Archives:
- “THE SCANDAL OF THE ROMAN BANK”, 2009, miniseries 2x100’. Directed by
Stefano Reali, with Giuseppe Fiorello, Andrea Osvart, Vincent Perez e Lando
Buzzanca, RaiUno.
- “ISLAND'S SECRETS”, 2008, miniseries 4x100’. Directed by Ricky Tognazzi,
with Adriano Giannini, Romina Mondello e Ricky Tognazzi, Canale5.
- “THE MAN WHO RODE IN THE DARK”, 2008, miniseries 2x100’. Directed by
Salvatore Basile, with Terence Hill, RaiUno.
- “GOOD AND EVIL”, 2007, miniseries 12x50’. Directed by Giorgio Serafini and
Dario Acocella, with Giancarlo Tognazzi, Marco Falaguasta, Bianca Guaccero,
Antonia Liskova, RaiUno.
- “A STOLEN LIFE”, 2007, TV-movie. Directed by Graziano Diana, with Giuseppe
Fiorello, RaiUno.
- “THE THIRD THRUTH”, 2006, miniseries 2x100’. Directed by Stefano Reali, with
Enzo Decaro, Anna Kanakis and with Bianca Guaccero, RaiUno.
- “THE LAST FLIGHT”, 2006, miniseries 2x100’. Directed by Umberto Marino,
with Massimo Ranieri, RaiUno, TF1, EOS GmbH
- “LOVE AND WAR”, 2005, miniseries 2x100’. Directed by Giacomo Campiotti,
with Martina Stella and Daniele Liotti, Canale5.
- “ICE ON FIRE", 2005, movie. Directed by Umberto Marino, with Raoul Bova and
Donatella Finocchiaro.
- “THE MAN WHO DREAMT WITH EAGLES”, 2005, miniseries 2x100’. Directed
by Vittorio Sindoni, with Terence Hill, RaiUno.
- “THE WRONG MAN”, 2004, miniseries 2x100’. Directed by Stefano Reali, with
Beppe Fiorello and Antonia Liskova, RaiUno.
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26
APPENDIX
Our story takes place in the years immediately following the birth of the unified
state, in a particular territory of Central Italy called Maremma.
Characters and situations are inspired by that phenomenon both well known
and studied by official historiography known as brigandry and/or social rebellion,
then rather widespread in that land. There are also allusions to the deeds and
misdeeds related to the famous political and financial scandal of the Roman
Bank which involved many influential men of the period. As there are also some
distant references to the last Carbonari.
However, our television series doesn't wish at all to be an historical
reconstruction, nor does it take the liberty of representing facts that really
happened. Ours is a fictional tale, which through emotion and sentiments
intends to reproduce the savor of an epoch, as well its fundamental themes,
without however seeking historical veracity at all costs.
We wished to be faithful above all to our protagonists, to the facts, invented and
dramatized by us, that disarranged their hearts, that set into play that game of
turn and reversal, joy and sorrow that is so much a part of representation.
History is cold, implacable and distant. To make it relive, it is necessary to rip it
from the past and keep it relevant - as much as possible - to the present.
Only in this manner, only through our characters, in some ways our
contemporaries, can we also manage to tell something about that newly
founded Italy, about that humanity at the end of the Eighteen Hundreds, in the
thrall of love, hate, poverty and abuse.
HISTORICAL CONSIDERATIONS
In the impoverished, divided and backward Italy of the second half of the 19 th
Century, the push for Unification, with all its new taxes, obligatory military
service and increased duties at the expense of personal freedom is
paradoxically considered by many of its intended beneficiaries as a calamity, a
curse rather than a morally proper and rationally based drive towards
Democracy and Civilization. The scourge of malaria, which forces many
inhabitants to undertake hellish evacuations, (coerced migrations which each
summer would send masses of people and even public offices fleeing to the
hills further inland, to escape the fever plagues of the coastal swamps), the
widespread illiteracy, abysmal life expectancies and scarcity of work other than
the backbreaking drudgery of the charcoal burners, shepherds or day laborers,
are only but a few of the serious social ills bedeviling the region.
The living conditions of the common people are hellish: most dwell in
ramshackle huts, their sole diet for extended periods only roots, chestnuts and
berries. And then of course, one must consider the absence of any form of
Justice. The area also bears witness to an archaic culture of sprawling, singlyowned and murderously defended agricultural estates, a tradition firmly backed
by the government and its local representatives who refuse to surrender any of
their absolute rights upon all persons and properties, thereby inducing the
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27
boldest, those convinced that they have nothing to lose, to take up arms and
"head for the hills," in rebellion against a condition that to them seems to be a
form of divinely sanctioned misery and despair.
Completing this portrait of the burgeoning new nation is the phenomenon of a
tragic, age-old legacy, a desperate response of the lower classes to their plight
of misery, injustice, and the dire lack of work, social mobility, dignity and
fairness.
Bitter Maremma
“the bird that strays there loses its feather / the man who goes there loses his loved one, / I lost
the person most dear to me.”
The Maremma Region is, from a geographic point of view, a vast area of central
Italy, full of rivers, valleys and mountains. To the north it is delimited by the
Magra River, which in part marks the border between Liguria and Tuscany, and
to the south by the Volturno River; to the east by the Apennines and to the west
by the Tyrrhenian Sea. The landscapes of Maremma are quite variegated: a
fascinating and suggestive territory with its thousands of colors and scents;
characterized by towering and inaccessible limestone bluffs, broad and deep
valleys that seem forgotten by both man and God; sprawling and tangled
scrublands, but also wide-open and sun-baked ranges.
A large part of the territory has remained wild and uncontaminated, where it is
still possible for the naked eye to gaze at thousands of acres of open
pastureland. This is the world that witnesses the life and labor of the herdsmen,
or as they are called in all the many Maremma dialects, the "butteri."
The legend books of Maremma are rife with stories full of hardship and love,
daring escapes and pitched battles taking place in this mixed geography of
waterways and forests, towering cliffs and deadly swamps. Maremma is a land
suffused with the memory of the "Dodecapolis Lucumonia," the twelve city
states that formed the Etruscan Confederation. The passage of History, in the
deepest and broadest sense of the term, has left indelible marks upon this land.
Before the great Medicean reclamation projects, it was defined as the "land of
malaria," or as the "Middle Land," to borrow a term from Dante who established
the borders at Cecina and Corneto, present-day Tarquinia, and who,
accentuating the area's characteristic aura of fantastic and forbidding
otherworldliness, had Pia de 'Tolomei say in Purgatory "...made by Siena and
unmade by Maremma..."
But more than any other area, the Mountains of the Uccellina are the great
depository of the mostly bitter mysteries of Maremma. Each tower standing
above the harsh Mediterranean scrublands has its legend, its hidden treasure,
sought and envied by all, though almost always in vain.
The butteri
The buttero ("from the Latin boum-ductor, conductor of oxen, or from the Greek
bùteros: bus, ox and toròs, prod") is a figure of heroic and near mythological
stature; he is the horseman who more than any other inhabitant has faced the
wild and hostile nature of the Maremma landscapes.
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Clad in their typical costumes, these herdsmen tirelessly traverse the region's
mountains and valleys. Through the ages, legends and myths have gathered
around these solitary figures, an aura also rife with rumors, whimsical tales and
bawdy parodies. Always quick to stretch and accentuate, popular fantasy has
created the image of an absurdly lackadaisical buttero, too slothful even to
dismount from the saddle to eat and drink. This proverbial indolence, though
ironically exasperated, contains an undeniable element of truth, one that even
raises a knowing smile from the directly interested parties. What is undeniably
true instead is that the life of the butteri is anything but easy, requiring incredible
strength and stamina: a life on the saddle, in constant movement, through
winter spring summer and fall, with stoic indifference to the rigors of the hellishly
hot, frozen and wet seasons.
The brigands
«Brigandry is the savage and brutal protest of the indigent against age-old oppressions»
In Tuscany, the brigands were mostly loners who sought to take justice into
their own hands against the abuses of the Papal States and the all-powerful
landowners. The native Maremma brigands, all of popular and peasant
extraction had no trouble recruiting their "bravoes" among the downtrodden of
the countryside, who saw in the "leveler" bandit's work the only form of relief
against the many social wrongs.
In Maremma, brigandry was considered a form of taxation against the estate
holders, those who held the agricultural economy in their tight and greedy
grasp. Their blackmail against noncompliance was arson.
The lushly thick vegetation of Maremma dotted with countless hollows, grottoes
and Etruscan tombs, offered broad stretches of inaccessible areas: ideal
hideouts for the brigands and veritable labyrinths for the law enforcers. The very
geographical outlay of the territory undoubtedly lengthened the brigands'
success against the Law.
The situation had always been minimized by the Savoy government, but on May
15th, 1892 the first Giolitti government was formed and in the very act of
swearing in, expressed its determination to eradicate brigandry from Maremma.
Consequently, the authorities were ordered to take proactive measures.
Only a few brigands were captured and led off in chains. Most preferred to face
the flaming lead of the attacking Carabinieri than to surrender and accept arrest.
Peter Exacoustos
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CONTACT US
Rai Press Office
Patrizia Biancamano e Paola Spinetti
www.biancamanocomunicazioni.com
Albatross Press Office
Cristina Clarizia
[email protected]
Our offices
Albatross Entertainment SpA
Via Montevideo, 4, 00198, Roma (RM)
Tel. +39.06.85.30.62.1
Fax +39.06.85.30.62.58
[email protected]
www.terraribelle.it
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