IL COMMISSARIO MANARA - raitrade.it commissario manara tradotto.pdf · 2 But is the right thing to...
Transcript of IL COMMISSARIO MANARA - raitrade.it commissario manara tradotto.pdf · 2 But is the right thing to...
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New Series, Year LIII n.14
March 1st 2011
NEWSRAI
IL COMMISSARIO MANARA
Luca Manara is back! The new series, about the adventures of the famous
commissioner played by Guido Caprino, returns with its patented mixture
of action, suspense, comedy and drama. Twelve episodes, packed with
irony, mystery, tons of plot twists, passion and impervious murder cases,
born from an idea of Alberto Simone, and directed by Luca Ribuoli. In
prime time, starting Thursday 3rd March, on Rai 1
And so the story continues... but as always when dealing with Manara,
everything starts with a major setback in the worst possible moment in
anyone's life: during his wedding! Luca (Guido Caprino) and Lara (Roberta
Giarrusso), who have known each other since the Police Academy, haven't
always got along perfectly, but that’s how their love works. And this time
they're serious! Everything is ready: the bride, the groom, the relatives and
the priest. But when they are about to say their “I do's”, the unexpected
happens: a man enters the church, takes a few steps and falls to the ground,
dead. It's murder! The ceremony is ruined and the almost-married couple,
always devoted to their duty, put away their wedding rings and start
investigating once again.
Is this an omen? In any case, in the end Luca and Lara decide on living
together anyway.
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But is the right thing to do after all? And so, a new chapter begins for our
crime-solving couple.
“Il Commissario Manara 2” , a Rai Fiction production, is produced by
Alberto Simone and Roberta Manfredi for the Dauphine Film Company,
and directed by Luca Ribuoli. Born from an original concept is by Alberto
Simone, with Anna Samueli and Francesca Panzarella, and story editing by
Daniele Falleri.
With Guido Caprino and Roberta Giarrusso, on Rai 1 Thursday March 3rd .
Down at the precinct, Manara's men are working hard to find clues,
evidence and witnesses to help solve the many new and difficult murder
cases. And someone new has joined them. A woman, named Marta Rivera
(Anna Safroncik). Pretty, charming, and provocative, her sharp mind and a
uncommon cleverness make her a cause for havoc between her colleagues.
Her past is shroud in mystery, and thanks to Manara's knack for getting into
dangerous matters, he won't be able to ignore the intrigue of this new entry.
And, as if that isn't enough, Manara will have deal with another
uncomfortable presence: the new superintendent Fabrizio Raimondi
(Francesco Quinn), a fascinating, bold man that will often end up in
Manara's way, and every time their roads will cross, trouble ensues.
Another new addition to the series is Serena Sardi's (Lucia Ocone) and
Augusto Toscani's (Augusto Fornari) newborn baby, who will complicate
Manara's life as much as that of his two parents, who are good friends of
Luca's.
And to complicate Manara's life even further, we have the arrival of
Tiziana (Michela Andreozzzi), Luca's exuberant sister.
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Also to appear in the series are: Daniela Morozzi (as Ada), Jane Alexander
(as Ginevra Rosmini, the coroner), Valeria Valeri (as Aunt Caterina
Bentivoglio), Bruno Gambarotta (as Quattroni), Massimo Andrei (as Pio
Buttafuoco), Mario Tribastone (as Mario Barbagallo), Luis Moltieni (as the
hotheaded superintendent Attilio Casadio) and Isabella Adriani (as Agnese
Mais, the new, provocative, secretary).
Trivia: “Il Commissario Manara 2” was shot in 19 weeks, from May 31st to
October 23rd 2010, of which 10 weeks in Maremma and 9 in Rome, for a
total of 105 days of shooting and over 140.000 meters (around 460000 feet)
of 16mm film shot. Of these 9 months of filming in Rome, 6 were in
studios redressed to look like the “precinct” and the “superintendent’s
office” sets.
70 locations were used, both indoors and outdoors. Shooting took place
with a crew of 75 people, with 190 actors and 900 walk-on roles.
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RAI FICTION
presents
a
RAI FICTION
production
IL COMMISSARIO
MANARA 2
DIRECTED BY LUCA RIBUOLI
produced by
Alberto Simone and Roberta Manfredi
for the DAUPHINE FILM COMPANY
CAST
CHARACTER ACTOR
Luca Manara Guido Caprino
Lara Rubino Roberta Giarrusso
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Marta Rivera Anna Safroncik
Caterina Bentivoglio Valeria Valeri
Ginevra Rosminni Jane Alexander
Superintendant Fabrizio Raimondi
Francesco Quinnì Augusto Toscani
Augusto Fornari Serena Sardi
Lucia Ocone Ada Daniela Morozzi
Superintendant Attilio Casadio
LuisMolteniQuattroni Bruno Gambarotta
Mario Barbagallo Mario Tribastone
PioButtafuoco Massimo Andrei
AnnaritaCasadio Giulietta Revel
AgneseMais Isabelle Adriani
TizianaManara Michela Andreozzi
Attilio&TommasoCupidi Arnaldo Ninchi
ElianaSilvestri Daniela Giordano
OlgaChimento Orsetta De Rossi
ConteDanteOderelli Emanuele Salce
AlteroCorda Roberto Bisacco
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CREW
From an idea by ALBERTO SIMONE
Directed by LUCA RIBUOLI
Original concept ALBERTO SIMONE
FRANCESCA PANZARELLA
ANNA SAMUELI
Screenplay by ALBERTO SIMONE
DANIELE FALLERI
FRANCESCA PANZARELLA
ANNA SAMUELI
ELENA BUCACCIO
STEFANO TUMMOLINI
CECILIA CALVI
ANGELO SIMONE
ROBERTA COLOMBO
Story Editor DANIELE FALLERI
Executive Producer ANTONIO DE SIMONE
Production Director NICOLA INNOCENTI
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Director of Photography ARMANDO BUTTAFAVA
BONALLOGGI
Set Design MASSIMO VICHI
Music by PAOLO BUONVINO
Costume designer ALESSANDRA CARDINI
Sound designer ALESSANDRO ROLLA
Film Editor LILLI LOMBARDI
Assistant Executive Producer SAVERIO GUARASCIO
Rai Fiction Producers FANIA PETROCCHI
FRANCESCA TURA
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DIRECTOR'S NOTES
“Il Commissario Manara 2” is once again set in Maremma, one of the most
beautiful provinces of Italy. This series has had the privilege of being shot
in the real locations that have inspired the show, and it's very rare that a
series like this can actually film in the same place and time as the events it
depicts.
Shooting in Maremma, a choice also approved by the production staff,
made me very excited about working on this project. I personally chose the
location of the “Bassa Maremma”, the southern part of the Maremma
area, to shoot in. Orbetello, which was the main shooting location, and
Capalbio, Magliano in Tuscany, Alberese, Talamone, Porto Ercole and
Porto St. Stefano all came together to create the scenery of the show.
The authenticity of these lands,their harsh nature and their vivid colors
immediately caught my eye. It felt like working with an untouched side of
Italy, on that hadn't been contaminated by man, and almost still felt wild.
So, I asked myself what my main character would feel, being almost
constantly immersed in these surroundings.
If Luca Manara had had to choose were to work, he would have been a
sheriff, but one who lives in New York, kind of like McCloud, from the
famous Tv Series. He loves working in the big city, but since the writers
preferred having him investigate in the countryside, Luca Manara has
become more of a sheriff figure for me, always very calculating, but moody
and a little confused (a trait that emphasizes the more ironic side of “Il
Commissario Manara 2”)
From the first day of shooting I have always pictured myself as making a
modern western, with a modern day hero, born and raised with 80's
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American TV shows (like The Dukes of Hazzard, CHiPS and Starsky and
Hutch), comic books and videogames. But instead of the long dolly shots
used in the western genre, I preferred two steady cams, to involve the
viewer more with the action
However, I did use tracking shots to get the best out of the beautiful
scenery.
I asked the director of photography to keep the lighting authentic, with the
auburn soil of the fields, and I'm proud of the result. The magical light of
these locations is preserved, and works perfectly in contrast with the
lighting in the precinct, shot entirely in Rome.
The scenographist and the costume department have worked together
towards recreating the great beauty of the Maremma area, with special
attention to details, and continuously trying to blend the strong colors of the
locations with the houses and the people of the area.
This type of TV series, that tries to reach out to a broad amount of
audiences, tends to amalgamate different storytelling genres. So the
structure, which was organized perfectly by the authors and the
screenwriters, had to correspond to my choices in directing. I had to find a
balance between the different parts of the story,which all had contrasting
tones, since we mix murder mystery with action, comedy drama and
melodrama. It's not easy to keep each genre intact while contaminating it
with the others. But the ironic elements of the story really helped, as I used
it to bridge all the parts together. The music, which is really moving and
detailed, also helped to give unity to the final product.
In the end, I really had fun. I got to work with terrific actors, always spot
on and in character, sometimes ready to ad-lib just for the sake of
authenticity and freshness of the story.
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“Il Commissario Manara 2” has a very contagious vibe, and can be both
funny and moving. It's a example of the caring face of Italy, that still
resides in our hearts to this day.
Luca Ribuoli
EPISODES
Manara will have to solve 12 murder cases, with his casual disregard for
the rules and his sometimes questionable investigative procedures. And this
time, Manara has a chance to show off his more physical side, with these
action packed episodes.
As always, in this season every episode begins with a dramatic turn of
events: the finding of a corpse.
Clues, testimonies, forensic analysis, and intuition will guide our characters
through each adventure to, ultimately, arresting the culprit.
Twelve, brand new cases with captivating protagonists, all with complex
and layered personalities.
And each case won't leave the characters unchanged, but will force each of
them to question their beliefs and rethink their lifestyles.
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MATRIMONIO CON DELITTO
(A Wedding with a Murder)
story by Alberto Simone
screenplay by Alberto Simone and Daniele Falleri
The much expected wedding of commissioner Luca Manara and inspector
Lara Rubino takes place in the town's little church. But at the last second a
man breaks in, his face covered by a helmet, and falls to the ground. The
man is mortally wounded, and is a young but talented motocross rider. The
wedding is interrupted and a complex investigation into the world of
profession motocross is started.
Parallel to this, begins a difficult moment for Lara and Luca's relationship,
where they understand that maybe getting married was a rash decision,
even though their love stays unquestioned.
In the meantime, Manara's men start an investigation that will make them
uncover the darker sides of the sport: illegal street racing. The victim was,
in fact, involved in these races, having got dragged in while looking for
easy money to assure his mother a better lifestile.
Prime suspects are his main “rival” and his despotic trainer, but only
Manara's intuition will make him uncover the real killer.
The culprit is apprehended and, with the case closed, Luca and Lara opt on
simply living together.
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L'ADDIO DI LARA
(Lara's Goodbye)
story and screenplay by
Francesca Panzarella and Anna Samueli
Luca and Lara have just started living together, but something feels wrong.
They love each other, it's true, but not everything is working out: Luca has
problems with getting adapted to this new lifestyle, and expresses this with
uncomfortable boils and headaches.
While Manara is looking for the causes, and an eventual remedy, to his
problems, an old florist is found dead. The man lived alone and had no
enemies. His closest of kin, which are his twin brother, who has recently
lost his wife, his daughter and his son-in-law, all seem flustered by what
has happened.
Luca and his men investigate what seems a very promising lead: a band of
burglars connected to a ex inmate who had recently started working for the
victim's flower shop. But another suspect could be the victim's son-in-law,
who has had an affair with a women, the man's accountant. He's a man with
no scruples, and might have killed the florist to hide his adultery. Lara, in
the meantime, receives an interesting offer from the chief superintendent: a
year-long postgraduate course in Milan. The woman is honored, but
declines, as nothing would make her leave her loved one, Luca.
After uncovering a series of secrets and jealousies between family
members, Luca manages to
catch the true culprit.
But his satisfaction for solving the case is spoiled by more intimate
problems: his relationship with Lara isn't working out.
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He has even gone back to sleeping in the farm, at Ada's place. So the
female inspector, pushed by Luca himself, decides to favor her career and
accepts the course in Milan. Luca isn't ready for living as couple, so it's
better to separate from one another before someone's feelings get hurt.
While Lara is leaving, from the bus that has just entered the station comes a
jaw dropping brunette. She's looking for Ada's farm, and Luca doesn't
hesitate even for second and gives her a lift on his motorbike.
DELITTO TRA LE LENZUOLA
(Murder in the Bedroom)
story and screenplay by
Francesca Panzarella and Anna Samueli
Luca wakes up in Ada's farm, but not in his own bed. Instead, it's owned by
the beautiful girl he brought back to Ada's from the bus stop. But there's no
time for introductions... Manara has to run back to his ex-home, the one
where he lived with Lara. The reason: in his bed is a dead, blond-haired
woman. The victim is his landlady, and she seems dressed for some special
occasion. In the meantime, Luca is called into the superintendents office.
Casadio orders him to solve the murder quickly, because of his personal
involvement in the case. He also introduces him to Lara Rubino's
replacement. With Luca's great surprise, the new inspector is a woman. The
very same woman he spent the night with at Ada's: Marta Rivera
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Marta immediately proves herself very competent and seems to be liked by
everyone. That is, everyone except Sardi, who is pregnant and is very
nervous about the way Toscani looks at her.
The investigation brings Luca new insight on his landlady, and will bring
him to various locations, ranging from places like his peaceful next door
neighbors' flat to the aseptic clinic run by the victim's husband, or the
peculiar pub where the landlady would hang out with some ambiguous
people.
Thanks to his intuition, Luca solves the case and finds the person behind
the murder.
Luca's friendship with Marta Rivera strengthens but, as Marta herself
states, must not go beyond that.
MISS MAREMMA
story and screenplay by
Francesca Panzarella and Anna Samueli
A beauty pageant photographer, found dead in a swimming pool, forces
commissioner Manara to investigate on the world of beauty contest and the
many sponsors, organizers and judges, many of which are fare from being
honest citizens.
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And while this case proves to be exceptionally difficult, Manara also looks
for information on his new colleague, Marta, which is far to qualified to
work at the same lowlife provincial precinct as him. Toscani gives Luca
some clues her, but much of it is still unclear, and things get even harder
when Marta discovers that Luca is inquiring on her past.
But the rising tension is momentarily interrupted when things start looking
brighter in the mystery involving the election of Miss Maremma. Working
together, Marta and Luca manage to discard the fake clues and leads, and
find the real culprit.
In front of the superintendent Luca and Marta act as a perfect duo, each
praising the others performance, but outside Marta still acts very detached
towards Luca.
But, does it really matter? Because that very night Luca has an unexpected
visit from one of the beautiful girls from the pageant. However, the night
still has more surprises in store.
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MONDO SOMMERSO
(Underwater World)
story by Francesca Panzarella and Anna Samueli
screenplay by Elena Bucaccio and Stefano Tummolini
This new case for Manara is about a scuba diver who is found dead in his
garage after what seems to be an accident: an exploded oxygen tank. But
immediately it becomes apparent that the man was murdered, and suspicion
falls on the man's pretty associate and on a friend of his, with which he'd
had a fight regarding a woman,
Both very plausible, but Luca smells something fishy.
Mystery still surrounds Marta Rivera, his fascinating new colleagues. Ada
finds, by chance, a letter that sheds some light on the woman's past. She's
suffered because of her love life, but is strong and determined and
courageous. And she proves that herself when she helps Sardi, whose
waters have broken, with surprising care.
In the meantime, Luca and Toscani are occupied with solving the case, and
through some “Manara style” investigating, underwater immersions and
plot twists, he brings back to light some ancient secrets and hidden truths.
Meanwhile everyone is bewitched by Sardi and Toscani's new baby, even
Marta, and we see a more sweet side of “uncle” Manara.
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SOTTO TIRO
(Under Fire)
story by Francesca Panzarella and Anna Samueli
screenplay by Cecilia Calvi
On a dark and stormy night, a woman lies wounded and dieing right in
front of Ada's farm. Someone has shot her and ran away into the night. This
new case for Manara involves the various diary and cheese factories of
area: the victim was a dairy farmer, who had come in this part of Italy to
convince the owner of a dairy company to insert her in his list of suppliers.
Between conflicting clues and false trails the investigation crosses over
with the mysteries surrounding Marta. Luca discovers that Marta is visiting
the superintendent secretly and doesn't know why.
The matter gets more and more complicated by the minute, and only Luca
acute sixth sense can helps him understand the truth: the gunshot was
intended for Marta. The truth about her finally come out, and so Luca
discovers that she has moved to Maremma to escape from the Camorra.
But why did Marta hide this? Luca still can't trust the woman completely,
and so his “private” investigation on Marta continues.
After having caught the shooter, who was one of the guests at Ada's, a new,
charming character arrives to the precinct: Fabrizio Raimondi, transferred
here to keep an eye on Manara's work, and on the many “irregularities” of
his method.
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ALTA SOCIETA'
(High Society)
story by Alberto Simone and Angelo Simone
screenplay by Elena Bucaccio and Stefano Tummolini
At the precinct, a severely wounded man dies right in front of Quattrone's
sentry box. The superintendent puts Manara on the case, which will bring
him to uncover the secrets and hypocrisy of the upper-class families of the
area. The case is difficult, and the presence of the new supervisor Raimondi
makes him very nervous. The victim was a rich widower, and heir to “Lady
Extra-virgin”, a very powerful and wealthy olive oil producer. Because of
that lucky wedding, a simple golf instructor like him had become a local
celebrity. Could it be that someone had helped him reach this “social
catharsis”, and now wanted his silence?
In the meantime, Luca and Marta discover that the car crash that took
“Lady Extra-virgin's” life wasn't that much of an accident after all. Luca's
sensibility and intuition help him reveal a more humane side to this
“nouveau riche” and, by breaking a couple of rules, he solves the case.
However, his fight with Raimondi is ongoing, and isn't only about Luca's
work, but also about capturing Marta's attention. Because of Luca
demeanour and his contant misbehavior, Raimondi suspends him from
active duty.
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FUORI SERVIZIO
( Off Duty )
story by Roberta Colombo
screenplay by Elena Bucaccio and Stefano Tummolini
A terrible homicide is perpetrated in a wine cellar, while Luca is on
suspended duty.
Thanks to the help of Toscani and his other colleagues, Luca manages to
follow the case from a distance and escape from his household chores:
helping Ada in the farm and babysitting for Sardi.
Meanwhile, Lara Rubino is back for a couple of days to visit Toscani and
Sardi. An informal dinner with her shows Manara that their love for each
other hasn't changed.
After secret meetings at the ranch, phone calls to Toscani and private
conversations with Marta, Luca manages to give his support on the
investigation and solves the case, finding the killer: the daughter of the
wine cellar's owner.
With a dramatic turn of events, the woman confesses to the murder but, in
front of everyone, manages to grab Marta's gun and threatens to kill herself
or anyone who tries to arrest her.
Luca steps in and manages to disarm the girl, but a gunshot is fired and
wounds Manara.
While he lies on the floor, with Marta bent over him, he confesses his
feelings for her.
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L'AMICA RITROVATA
(Rediscovered Friendship)
story by Alberto Simone and Angelo Simone
screenplay by Daniele Falleri and Angelo Simone
Luca's wounds aren't that severe. He has a very noticeable arm sling, which
might be uncomfortable, but gets him a lot of attention from Ada and
Marta. And to speed up the commissioner's recovery, his sister, Teresa
Manara, is coming to town.
But on the bus she was on a woman was found, murdered, and the prime
suspect... is Teresa!
Meanwhile, to the superintendent's great disappointment, Raimondi ends
the disciplinary investigation and Manara is restored to his previous
position. But since the case is about a family member of Luca's, the
superintendent Casadei decides to supersede the case himself, and warns
Luca of the trouble he'll make him go through if he meddles with the
investigation.
The investigation gives us insight on the victims past: she was a local
woman who had left when she was very young and was hoping for a warm
welcome from her two best friends.
Luca's sixth sense will make him reopen, and solve with Quattroni's help,
an old case that had been filed as an accident, and in the process Manara
finds the true killer of the woman.
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Marta, however, is more and more confused by that confession Luca
whispered with his “dying breath”, and turns down the many woos from
Raimondi, her charming ex, who suddenly has to go back to Rome.
LA VERITA' NASCOSTA
(The Hidden Truth)
story by Alberto Simone and Angelo Simone
screenplay by Elena Bucaccio and Stefano Tummolini
A couple finds a dead house-painter lying on the street. However,
Ginevra's autopsy soon shows that this wasn't an incident, but a poisoning.
This new investigation will lead Manara towards hidden frescoes,
mysterious buyers and some so-called“art experts” who are selling fakes.
All this while Marta Rivera receives a phone call from her father, who's so
famous that everyone in the precinct knows him: he's the chief of police!
This revelation completely destroys the little trust Luca had towards Marta,
and gives way to a new series of doubts and questions about his mysterious
colleague.
And things get even worse when Raimondi returns. He has to work on an
abduction that has happened in the area. Bad news from Lara, too. She's
found a new boyfriend in Milan, and she treats the whole matter too
clumsily for Luca's taste.
The painter's case continues parallel to that of the kidnapped girl. Raimondi
manages to get him to help in the second case, but while Luca manages to
solve the first one with ease, he has less luck on the abduction.
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After hunting down the kidnappers boat, he accidentally lets them get
away.
Back at Ada's Farm, there is quite the surprise waiting for Luca: Marta’s
room is empty, and the inspector has vanished.
UNO STRANO INCIDENTE DI CACCIA
(A Strange Hunting Accident)
story by Alberto Simone and Angelo Simone
screenplay by Cecilia Calvi
In the forest, a woman, out looking for mushrooms, finds the dead body of
a hunter. What looks like an hunting accident soon reveals itself to be a
premeditated murder, linked to poachers, gamekeepers, and boar hunting.
Luca's investigation is marked by a great number of arrivals and departures.
Luca knows that Marta has been call to testify in a very important trial, by
is surprised to learn that her replacement will be non other than Lara
Rubino. When the two reunite, it is clear that Luca is still attracted to Lara,
and the thing seems mutual.
While investigating on the hunter's murder, Luca discovers something very
important for Raimondi: the fishing boat that the men who abducted the
girl took was deliberately sunk not far from the town's coast. Raimond
takes the favor very reluctantly and warns Manara that he won’t let him
have Marta, as he wants her back and is ready to put up a fight for her.
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After finding the hunter's killer, Luca decides on working on the abduction
of the girl. Without telling anyone, he takes a zodiac and some scuba-
diving equipment. While diving in the general area of the shipwreck, to his
great surprise he finds another scuba diver, who quickly tries to loose him.
But Manara is faster, and even after some difficulties, manages to capture
the other diver, pulling his breather of.
But he immediately recognizes the diver, as it is none other than his
colleague, Marta Rivera.
LA DONNA SENZA VOLTO
(The Faceless Woman)
story and screenplay by Cecilia Calvi
The finding of a woman corpse, her face disfigured beyond recognition,
puts Luca on a case that intertwines with the one of the kidnapped girl.
Luca manages to trace the identity of the victim, who is the manager a
company owned by the girls father. So once again Manara's and Raimondi's
roads cross and, like always, they go toe to toe.
Lara, in the meantime, is preparing to get married with her new boyfriend,
catching everyone off guard, including the priest and aunt Caterina. And
she asks Luca to be her best man!
Marta, on the other hand, has decided to give Raimondi another chance.
Between her and Luca there is only a solid friendship, now.
The investigation reveals more clues on the kidnapping of little Clarissa,
And when Luca solves the case, beating Raimondi's team to the punch,
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everyone is relieved. The only thing left is to celebrate, with Lara's
wedding.
But like last time, someone interrupts the wedding, only that this time the
bride runs away with her prince charming: the commissioner Manara!