TIBERIO MITRI Press kit INGLESE

TIBERIO MITRI
The Boxer and the Beauty Queen
Press kit
CRISTALDI PICTURES
2011

TIBERIO MITRI - The Boxer and The Beauty Queen
TV Miniseries (2x100’)
Screenplay:
Story:
Directed by:
Alessandro Sermoneta and Elena Bucaccio
Maurizio Giammusso and Angelo Longoni
based on the book “La botta in testa” by Tiberio Mitri
Angelo Longoni
Produced by: Massimo Cristaldi
a CRISTALDI PICTURES / RAIFICTION Co-production
Cast:
Luca Argentero (Tiberio)
Martina Stella (Fulvia)
Production Designer: Giantito Burchiellaro
Costume Designer:
D.o.P:
Lia Morandini
Patrizio Patrizi
Locations:
Shooting format:
Trieste, New York, Roma
Super 16mm, finalized in HDCAM SR
Production budget: € 4.728.490,00
First broadcasting: September 26-27, 2011 (RAIUNO)
CRISTALDI PICTURES
2011

TIBERIO MITRI - The Boxer and the Beauty Queen
Synopsis
“The Boxer and the Beauty Queen” tells the story of the passionate and turbulent love story
between Tiberio Mitri, European middleweight boxing champion in the 1950s and the ravishing
Fulvia Franco, winner of the Miss Italy contest in 1948.
Tiberio and Fulvia are two stars, so handsome and beautiful that everyone loves them. They meet,
fall in love and marry.
Both driven by great ambition yet jealous of each other’s successes, they end up not being able to
cope with harsh reality and - after having won international titles, known fame, experienced the
“American dream”, gone on tour with a successful theatrical review and had their only child - they
break up.
But their passionate union was so strong that they were to meet up again.
Their romantic and irrational love story has stuck in the memory of all Italians. And no one can
forget Tiberio’s legendary fight with the “Bronx Bull” Jake La Motta: 15 furious rounds from
which Tiberio came out the loser, but with great honour, in a match that lives on in the annals of
boxing.

Director’s notes
Retracing Tiberio Mitri’s life story, as well as providing an opportunity to review
the life of a great Italian sportsman, also means taking a new look at the history
of Italy in the wake of 2 nd World War and through into the Fifties.
A young and naïve Italian nation, full of hope and eager to get on in life,
yearning for wealth and fortune as a way of nursing the wounds of the war, the
all-pervasive poverty, the rubble left by the many bombings and fierce civil strife.
A country full of enthusiasm that, along with it’s economic recovery, was also
witnessing the birth of all the essential elements of its national and social
character that were to remain well-rooted in the memory of every Italian.
First came the radio, then television, cinema, the Miss Italia pageant, music,
cars, the unattainable dream of America as a point of reference and a goal.
These are just a few of the ingredients that went spiced the life of Tiberio Mitri,
born in Trieste, married with the most famous woman in Trieste at the time:
Fulvia Franco, Miss Italia.
A beautiful and much envied young couple still covered in the dust of war and
marked by the hunger suffered under the Fascist regime.
The first gossip column couple, the earliest glitzy victims of what, in the years to
come, was to mutate into a negative and second-rate form of gossip mongering
and bad-mouthing of public figures devised to titillate the masses.
By stealing the headlines, basking in their glorious love, so brimming with youth,
vigour and sex appeal, they stood out as role models for everyone who at the
time was trying to find the strength, the energy and the drive to put poverty
behind them.
If they could make it, with their totally anonymous backgrounds, being born of
working class families, then everyone had a chance, there was a glimmer of
hope for anyone who was set on asserting themselves even in such a backward
and battle fraught nation.
The life of this handsome, hope driven boxer, beloved by women and by his
fans and in his passionate relationship with his beautiful wife, seems to be
emblematically linked to the history of our country throughout the Fifties and in
the two decades that followed.
Mitri, like Italy, tried to shake off the shackles of poverty and ignorance by
exploiting his own talents to the full through constant effort and application,
believing that effort and application were sufficient to achieve success.
Mitri, like Italy, came up against the harsh reality of the times and was forced to
come to terms with his true potential and had to reassess his hopes and his
dreams of greatness.
Mitri, like Italy, had risen to great heights only to experience a tragic fall from
grace, the illusion and the betrayal, the charm of a future full of hope and the
disenchantment of the present.

But like Italy, the life of Tiberio Mitri, is also completely permeated with romantic,
irrational, utterly sentimental and poetic joie de vivre, bold irony, playful
individualism and that almost infantile brand of enthusiasm that is typical of the
Italian esprit throughout the world that distinguishes Italians wherever they go.
And the outcome of Tiberio’s greatest fight, the one against Jake La Motta,
provides a clear demonstration of this spirit, the story of two Italians abroad, one
with the dream of conquering America and the other, a son of immigrants, who
had already succeeded in doing so.
Summary
Tiberio Primo Mitri was born in Trieste on the 12 th of July 1926 from a family of
little means who had to make do with the paltry wage of the householder.
His father, a violent, dim-witted man with a serious drinking problem, died when
he was only 10, leaving his wife to bring up Tiberio and his younger brother,
seeing as she was the only adult left in the family capable of looking after the
two children.
Fulvia Franco was also born in Trieste from a lower middle class family, her
father was a meek and unassuming man who lived very much in the shadow of
his wife, a strong-willed and ambitious woman who having got nothing out of life
for herself could only project her own yearning for success onto her daughter.
The girl was therefore brought up with a overbearing dictate: to succeed in life
at whatever cost and without being too particular either.
The lives of the two children ran parallel to each other, marred by the war, the
Fascist regime and in Tiberio’s case, by extreme poverty, something that Fulvia
did not have to bear to such an extent.
As a kid, in order to make ends meet, Tiberio took to petty crime, he got by as
best he could, often getting involved in street fights and his conduct was
deemed so reprehensible that he and his brother ended up in the Trieste
reformatory, which was part something halfway between a college and a
borstal.

On her mother’s bidding Fulvia was in the meantime taking every opportunity to
shine, to excel, she had to be the most beautiful, the most capable ever since
primary school. Being top in everything had become a kind of obsession which
was greatly to affect her in the future. The obsession to come out on top when it
is not backed by actual ability tends to generate frustration and rage, and not
being able to reach certain objectives due to a basic lack of the necessary skills
often leads people to look for the short cut.
Tiberio became a boxer without knowing it, he was so used to punch ups in the
street and holding his own to protect himself and his brother from everyone that
it came perfectly naturally.
In Trieste, he started to train in a very tough boxing school, where the only
actual rule was taking your punches and staying on your feet.
Trained in the art of boxing by trainers constantly on the look out for new talent
he began to box having a clue about boxing.
His rage and his eagerness were so fierce that he feared no one who might
stand before him.
He fought to hurt, to hit, to win.
He knew nothing of strategy, tactics or style, he was just quick, his nifty footwork
and his constant movement tiring his opponents into submission.
At the age of twenty he made his professional debut.
Fulvia was a beautiful girl, and some, the right shape in all the right places, her
face was enchanting, she was artful, determined but she didn’t have what it took
to make her name where it meant most to her, Her dream, what she would give
her life for, if she could, was show business, acting.
And she wouldn’t make do with any old role, she had to be a diva, unique.
There is no doubt she was not the only one to fuel her ambitions, her mother
almost forced her want for herself what she had never achieved.
The constant and pressing influence of her mother, gradually convinced her that
this was what was right for her.
So she tried every avenue open to her, even the Miss Italia beauty pageant.
At twenty Tiberio makes his professional debut. His style is still poor, he has no
knockout punch but he has plenty of stamina, he’s quick, he keeps going and
never gives up. Tiberio can take punishment, he’s not scared of getting hit, or
feeling pain.
His boxing style tends to disconcert opponents, he is elusive, with quick
footwork and never lets up.
He wins the Italian title in ’48 and in Trieste he is almost a hero.
Fulvia too becomes a heroine when she wins the crown of the Miss Italia
pageant. She wins by the narrowest of margins over the contestant from
Bologna who on the eve of the final vote appeared to have it sown up. The jury
apparently were heavily swayed by the opinion of Cesare Zavattini, the great
screenwriter and author.
Fulvia perfectly represents the Italian desire for emancipation. Fulvia is from
Trieste which is about to be freed, and is, by all intents and purposes, Italian.
Her very simple, unsophisticated appearance and her girlish demeanour are
what had won her the day.

The time is ripe to take the big plunge, but Trieste is still very much on the
outskirts in show business terms, it’s not Rome, or Milan. The people who can
make the difference are elsewhere.
The most famous person in Trieste is…. Tiberio Mitri.
Fulvia and Tiberio meet, almost by chance, they are, after all, the most
representative figures in town. They are handsome, young and desirable. They
both have a radiant future ahead of them… at least in the eyes of the multitude
of destitute who populate the town, and, if the truth be known, in the eyes of a
vast majority of Italians.
At first they don’t fancy each other much, they find each other mutually
unpleasant, Tiberio is too much of a braggart and too sure of himself, and she is
too stuck up.
But someone in the press sees the chance of making a few bucks. The boxer
and the pageant girl. Too handsome not to get together, the love affair between
the two of them is too perfect for it not to happen.
A love born under the spotlight, two Trieste kids with all eyes in Italy trained on
them.
Having overcome the first difficult moments Tiberio and Flavia start going out,
they fancy each other, they fall in love. Their secret meeting is “snapped up” by
a photographer and this is the beginning of all the gossip that will surround their
relationship.
They love each other wildly, when they’re together it’s one big firework, in every
way. Their passion is overwhelming, the sexual attraction always at its peak, off
the scale even.
They quarrel over everything, then make love to make up, then quarrel some
more before doing it some more and then quarrelling again.
The two of them have only two alternatives: either they break apart or they
marry.
And they get married.
The newlyweds however have little money.
Fame is not always synonymous with a healthy bank account. Tiberio’s fights
still can’t hold down huge prize money and for Fulvia, for the time being, the film
business only consists in deciding which movie house to attend.
For this reason the two of them decide to move in with Fulvia’s parents.
Awaiting better times this will be their love nest, despite Fulvia’s mother’s heavy
handed negative influence.
For her Tiberio is nothing more than a boxer and a bad lot generally, someone
with no career prospects, someone bound to end up in the gutter, stunned and
dazed by all the punches
Sure, Tiberio is famous right now but what about in times to come? What about
when he’ll fall from favour?
She wanted something better for her daughter, someone who could make sure
she wanted for nothing, who could support her like a true lady while she sought
to make her mark in cinema.
Love and sexual attraction are not to be considered as useful features of a
successful marriage.
While Fulvia, who is ambitious but no icicle, wants more from love.

Tiberio is good looking, fun, he makes her laugh, he loves her, and he might be
able to open the door to high society for her , and sooner or later it will
happen… it’s just a matter of time.
Tiberio can’t stop winning, every fight is a walk over. Italy isn’t big enough for
him anymore. He wants a European crown. He wants to swim in the big pond.
In ’49 he has his chance, and he won’t let it slip, and of course he wins. He wins
the European title at a time when boxing rings were surrounded by attractive
women and the kings of finance.
In the meantime Fulvia is trying to find her footing in the movies, through
photostories, advertising. Chicken feed, nothing major, she can’t seem to break
through, at least not as she would have hoped. She is famous, sure, and she is
still a beautiful girl who has won the Miss Italy beauty pageant, and on top of all
this she is the wife of the most famous boxer around, the wife of the Middle
Weight Champion of Europe.
Basking in someone else’s limelight however is upsetting for her, it needles her.
He is always at the heart of everything, he is the one everyone loves, he’s the
one they recognise, he is the champ. She can spot women glancing at him,
people’s respect for him. All the newspaper headlines are his.
She is left with the crumbs, a bit part in a movie is not enough, she wants more.
Tiberio is no fool. He sees his wife is not happy, that’s why he thinks he’s had a
brainstorm when he suggests they do the most beautiful thing a man and
woman can hope to create together.
A son. He wants a son from the woman he loves; he wants it more than
anything else, especially now that the money is beginning to flow.
One day Tiberio buys Fulvia a cot as a present, he wants her to understand that
he means what he says. Fulvia reacts very spontaneously, she embraces him,
she is happy, they make love. But when the mother sees the cot she sets upon
her daily efforts to dissuade her daughter from taking this step.
To have a child Fulvia will have to fatten up, lose her figure, she’ll be wasting all
those months of her pregnancy and then again while breast feeding, no one will
employ an actress who has to travel with a bundle she has to feed every four
hours.
Fulvia is easily swayed and in the wake of one of her usual arguments with
Tiberio, out of spite, she gives the cot away to her next door neighbour.
This is a heavy blow for Tiberio, a disappointment he has a hard time coping
with.
Their relationship buckles. Tiberio no longer trusts Fulvia, he feels her distant
and hostile.
In conjunction with their first real crisis Tiberio receives the news he has been
expecting for some time. America is interested in him. In the land of boxing, in
the country that has produced all the great world champions there are
promoters who want to organise big fights for him, and the one who particularly
wants him is Frankie Carbo, an Italo-American boxing promoter, with mafia
connections, a business man with his finger in every rotten pie of the Italian
mafia on the other side of the Atlantic.

They want Tiberio over in the States to train and prepare, to put a few fights
under his belt so he can make a name for himself with the big audiences and
then get his great opportunity, the world title, a meeting with a mythical figure in
boxing lore: the world champion, raging bull, another Italian: Jake La Motta.
But America is not just the land of boxing, it’s also the land of cinema.
Fulvia is overjoyed, she will have the chance to make her breakthrough there, in
the Los Angeles studios, she’ll be able to try out as an actress, she’ll have a
chance to show everyone what she is truly worth.
She’s backed in this by her mother who urges her to follow Tiberio. Finally this
cumbersome son-in-law who is generally speaking of no use at all, may actually
be able to help her daughter crown her dream to become an actress.
But Tiberio stops Fulvia in his tracks, he doesn’t want her to go with him, he
won’t be taking her to America with him.
Fulvia doesn’t understand, she feels humiliated, she begs him, beseeches him.
Tiberio is adamant. He says she won’t help him to keep calm, she’d find ways to
quarrel and make life impossible for him.
He needs his piece of mind, and his concentration. This is no holiday for him,
he will have to train hard, and keep his composure and she is not the best
person to have around if getting a job done is all you have in mind.
This leads to the second break-up between them.
Tiberio in America goes through a long period of frustration.
Carbo doesn’t even meet up with him, he only has dealings with a side kick, a
small time mafia hood by the name of Turiello who takes him round night-clubs,
promising him the moon without anything substantial every taking place.
The tension between the two of them mounts.
The inactivity, the yearning for the ring, for fights, weighs heavily on Tiberio who
can’t seem to understand why they had insisted so much to get him over from
the other side of the Ocean if they won’t even let him at an old nag.
Turiello reassures him, he tells him he will certainly get his chance but he must
be patient.
But Tiberio’s frienzy reaches fever pitch, in Italy he was European Champion
while in America he is a nobody. He threatens Turiello that he will be heading
back to Trieste if nothing happens very soon, he has to speak to Carbo right
away.
And Carbo finally meets Tiberio, and a true friendship seems to blossom
between them.
Tiberio wants La Motta but the boss tells him he’s just not ready, he needs to
train and have a few fights with boxers who are not as strong as the Bronx Bull.
He has to build up his reputation and earn people’s respect, he has to prove
that he can rightly aspire to win the world championship.
He must keep calm. Tiberio wants La Motta and Carbo will get him the fight, but
all in good time, when things are ripe.
So Tiberio begins to train and fights a few training bouts in preparation for the
great event.

Naturally the boxers Tiberio meets never go the distance, Tiberio seems to
overcome them all with consumate ease.
Fulvia is nervy, she can’t stay away from Tiberio because photos and gossip
have been filtering through from America describing him as busier with the girls
in the night-clubs that the bruisers on the ring.
Fulvia is jealous and anxious, she must go and join him. She is secretly
studying English and prompted by her mother she plans a way of reaching her
husband.
Finally Tiberio is ready, his fight with La Motta is on, in the Madison Square
Garden of New York.
The date is set, and it’s Tiberio’s birthday.
Fulvia gets on a plane and leaves. When Tiberio seer her standing before him
at first he can’t help seething, but then the physical attraction he feels for his
wife gets the better of him, he loves her, even if she is a complicated person,
even if she never does what he tells her, even if they’re always quarrelling, even
if at heart she is a deceitful social climber…
He loves her, making love to her so much more wonderful than doing it with any
other woman.
His tormented love affair with Fulvia however suffers another major setback
when Tiberio loses the fight of his life.
The World Middle Weight title will never belong to Tiberio.
Jake La Motta is too good. For Mitri to remain on his feet until the final bell is
already a great result. The two boxers end the bout with heavy bruising to both
face and body, the match is ferocious, with no holds barred. La Motta
congratulates his fellow countryman, the only boxer ever to have fought him and
gone the distance.
Tiberio however will never be the same; his body after the night in the ring at
the Madison Garden has suffered severe damage, particularly his eyes and his
internal organs.
After pissing blood, Tiberio desperately falls onto his wife’s body and loves it
passionately.
Perhaps this is the very night when they conceive their only son.
The defeat against La Motta is the rude awakening from a dream for both of
them, for Fulvia who now sees her desire to make her Hollywood debut dashed
and for Tiberio who, at the age of 24, after that defeat will never be the same
boxer as before.
Their union however produces Alessandro and for a while their life almost
seems to get back on the rails again.
They are now forced into a sort of family life, what with Fulvia pregnant and
Tiberio warned off the ring by the doctors.
But people still love Tiberio even if he hasn’t made world championship.

They wave to him in the street and they respect him. Fulvia gives birth and falls
into depression. The life of a mother doesn’t suit her. Her desire to make her
mark takes hold of her once more. She goes back to being nervous, anxious
and to find any excuse to chastise Tiberio.
The quarrels return, along with the misunderstandings.
Mitri however is prepared to do anything he can to make his wife happy.
Anything, even organising a theatrical review so that people can get to know
Fulvia better and her audience can learn to appreciate what a great actress she
really is.
And so a show is produced starring the two of them. The boxer and the actress,
beauty and the beast, feminine grace versus male strength. With comedians
and dancers as backing.
(UN PUGNO UN BACIO) A PUNCH AND A KISS is the title of the review. And
the tour is extensive, with shows dotted throughout the Italian provinces, in
village theatres, travelling on uncomfortable trains.
Unexpectedly the review works, it’s a big success.
But Fulvia is not happy. She hears the applause when she walks on stage, and
the comments too, and they are all centred on her beauty, on her generous
shapes.
But when Tiberio walks on the applause is different, he is admired and loved.
He is Mitri, the champ, the one who fought toe to toe with Jake La Motta and
never hit the canvas, losing by a hair’s breadth, while she is just another
beautiful girl.
What Tiberio had intended as a loving gesture towards his wife soon turns out
to be another source of frustration for Fulvia.
A period of tension, quarrels and mutual betrayal begins.
Tiberio tries to find comfort in the arms of one of the dancers in the troupe and
can’t keep it hidden from Fulvia for too long.
But she knows that she is stronger than her husband, she knows that no other
woman can ever give him the thrills and the passion that she manages to instil
in him.
And she’s right, the poor dancer, madly in love with Tiberio, attempts suicide
when he goes back to his wife. The great champion, the man the crowds love,
can’t keep away from Fulvia, his feelings and his attraction for this woman are
too powerful.
Fulvia on the other hand doesn’t seem to be in the same predicament. As soon
as she is offered a part in a film the review suddenly loses its importance.
She’s not interested in the vagrant life of the theatre, she’s wants the cinema,
that’s all she’s every yearned for, everything else has been nothing more than a
stopgap.
The company disbands and the two of them return to Rome, she has to start
her film shoot and he now starts managing the bar he has opened with his
father in law.
While Fulvia works in film Tiberio decides to try his hand once more, he wants
to get back in the ring.

He can do it, no matter what the doctors think, and regardless of the fact that
the boxing world no longer seems to believe in him.
He trains with extreme dedication, quits drinking, eating, smoking, gives up
everything and wins back his Italian title.
For someone who has fought at the Madison Garden in New York it’s not much
but it’s a start.
In the meantime the relationship with Fulvia has finally hit the rocks for good;
she has a new partner and makes no bones about it, neither with Tiberio nor the
press.
He is the new Italian Champion and he really can’t stand passing for a
“cuckold”, he’d rather see his son whenever he has any time off, accept that he
grow up in another man’s home, but he doesn’t want to keep feeling fragile and
ridiculed.
Their relationship is over: they separate.
They each go their own separate ways. He still has his boxing, and he will prove
he still has plenty to give.
Tiberio knows that anything he sets his mind to sooner or later he will achieve.
He fights for the European Championship and wins.
Here is the Champion once more, he has gone back to being the man everyone
knew, the Italian idol who dreams of making the cut, an example for anyone
who feels they can never climb back out of a hole, for those who believe they no
longer have a chance.
Mitri’s sporting life teaches us that no one is a born loser, that no one can be
believe they’re done for until they’ve tried with all they’ve got to win their battles.
Against all odds, against physical limitations and age, Tiberio has conquered all.
And as European Champion he meets Fulvia once more, a very special
meeting, as lovers, just the two of them in a room.
They both know they won’t be getting together again, she is now living with her
new partner and he has now entered a relationship with another woman.
It doesn’t matter, they’ve found this time that is only for the two of them, a brief
moment when time and reality stand still, and for just the one day they try to
relive what they have been for each other for years with the awareness that
their love will never be replaced by any other. No other relationship can hope to
match the intensity and passion they had once known, no other love will ever be
like the love of their youth.
Mitri’s boxing career ended in 1957, after which he attempted a brief career in
cinema seeing as he had been boxing’s lover boy and everyone called him
“angel face”. A short flash in the pan which left little trace.
Who knows what might have happened had Tiberio Mitri won his historic fight
against Jake La Motta. That evening at the Madison Square Garden in New
York when he lost his World Medium Weight Championship fight, what was
actually at stake, but he, in his youthfulness was unaware of, was a large part of
his future happiness and his love for Fulvia Franco, the woman of his life.

TIBERIO MITRI - The Boxer and The Beauty Queen
The Cast
LUCA ARGENTERO

CINEMA:
2011 “E la chiamano estate” directed by Paolo Franchi (support)
2011 “Le Guetteur” directed by M. Placido (support)
2011 “Hop”, directed by Tim Hill - Voice - Italian Edition
2011 “Lezioni di cioccolato 2” directed by A. Federici (lead)
2010 “La donna della mia vita” directed by L. Lucini (lead)
2010 “C’è chi dice no” directed by G. Avellino (lead)
2010 “Eat Pray Love” directed by Ryan Murphy (support)
2009 “Oggi Sposi” directed by L. Lucini (lead)
2008 “Beverly Hills Chihuahua” - Voice - Italian Edition
2008 “Il Grande Sogno” directed by M. Placido (lead)
2008 “Diverso da chi?” directed by Umberto Riccioni (lead)
2008 “Avventure semiserie di un ragazzo padre” directed by L. Lucini (lead)
2007 “Lezioni di Cioccolato” directed by C.Cupellini (lead)
2006 “Saturno Contro”(“Saturn in Opposition”USA) directed by F.Ozpetek (support)
2006 “A Casa Nostra” directed by F.Comencini con L. Zingaretti e V. Golino (support)
TV:
2011 “Le Iene” - Show TV - anchor man
2010 “Tibero Mitri. Il Campione e la Miss” directed by A. Longoni (lead)
2007 “La Baronessa di Carini” directed by U. Marino (lead)
2006 “Carabinieri 6” directed by S. Martino (lead)
2005 “Carabinieri 5” directed by S. Martino (lead)
2004 “Carabinieri 4” directed by R. Mertes (lead)
SHORT FILM
2006 “Il Quarto Sesso” directed by M. Costa role Apollonio di Tiana
THEATRE:
2010/2011 “Shakespeare in love” directed by N.Scorza (lead)
AWARDS:
2007 "Premio Diamanti al Cinema" - Best Supporting Actor for the movie “Saturno Contro”, and
two nominations at the “Ciak d’oro” as Best Supporting Actor for the movies “A Casa Nostra” and
“Saturno Contro”;
2008 Venice International Film Festival - “Premio Guglielmo Biraghi” for the movie “Lezioni di
Cioccolato” and a plate of recognition by Anec, section “Claudio Zanchi” - Young Artists;
2008 nomination for “Golden Graal” - Best Actor for the movie “Lezioni di cioccolato”;
2009 nomination for “David di Donatello” - Best Actor for the movie “Diverso da Chi?”;
2009 “Premio De Sica” and he is the first Italian actor to attend the Palm Springs Film Festival with
the movies “Il Grande Sogno” and “Diverso da Chi?”

2010 “Golden Graal” Best Actor section Comedy for the movies “Diverso da chi?” and “Oggi
sposi”
MARTINA STELLA

THEATER
Aggiungi un posto a tavola
Romeo e Giulietta
P. Garinei
M. Panici
CINEMA
L’Ultimo Bacio
Nemmeno in un sogno
L’Amore perfetto
Amnesia
Oceans’s Twelve
Il 2 Novembre (Short)
K il bandito
IL mattino ha l’oro in bocca
Il Seme della discordia
Nine
Un'estate al mare
Ti presento un amico
G. Muccino
G. Greco
V. Andrei
G. Salvatores
S. Soderbergh
S. Godano
M. Donovan
F. Patierno
P. Corsicato
R. Marshall
C. Vanzina
C. Vanzina
TV - FICTION
Augusto
Le Stagioni del cuore
La Freccia nera
Le Ragazze di san Frediano
La guerra sulle montagne
Piper
Donne Assassine
R. Young
A. Grimaldi
F. Costa
V. Sindoni
G. Campiotti
C. Vanzina
A. Infascelli

Angeli e Diamanti
R. Mertes
2011 Tiberio Mitri - Il Campione e la Miss Raiuno A.Longoni
2011 Tutti pazzi per amore Raiuno L. Muscardin
2012 "Caruso" Raiuno S.Reali
The Director
A N G E L O L O N G O N I
Tel. 065814032 Cell. 3355284286
Mail angelo.longoni@fastwebnet.it
Web site: www.angelolongoni.it
Nato a Milano, diplomato alla Civica Scuola d'Arte drammatica Piccolo Teatro di Milano, d opo aver
lavorato per alcuni anni come attore ha firmato testi e regie teatrali, televisive, cinematografiche e ha
pubblicato alcuni romanzi e racconti.
FILM
E' finalista del Premio Solinas e del Premio RAITRE con la sceneggiatura Caccia alle mosche.
Caccia alle mosche viene prodotto per il cinema con la regia dell'autore con Giulia Fosà, Massimo
Venturiello e Massimo Popolizio (1993). CACCIA ALLE MOSCHE viene presentato in concorso all'interno
del Noir in Festival 1993 a Courmayeur d urante il quale viene consegnato alla protagonista Giulia Fossà la
Grolla d'argento come migliore attrice protagonista.
E' sceneggiatore e regista del film UOMINI SENZA DONNE prodotto d a THUNDERFILM per Mario e
Vittorio Cecchi Gori (1995), con Alessandro Gassmann e GianMarco Tognazzi.
Sceneggiatore e regista del film FACCIAMO FIESTA prodotto da THUNDERFILM per Mario e Vittorio
Cecchi Gori (1997), con Alessandro Gassmann, GianMarco Tognazzi e Lorena Forteza.
Sceneggiatore e regista del film NAJA prod otto da TIGER FILM per Mario e Vittorio Cecchi Gori (1997),
con Enrico Lo Verso, Stefano Accorsi, Francesco Siciliano, Lorenzo Amato, Adelmo Togliani, Claud ia
Pandolfi.
Autore e regista del Film TV per RAIUNO “MADRI” prod otto d a Immagine e Cinema con: Angela
Finocchiaro, Amanda Sand relli, Eleonora Ivone, Marianna Morandi, Edy Angelillo.

Autore e regista del Film TV per RAIUNO “PART TIME” prodotto da Immagine e Cinema con: Vittoria
Belvedere, Eleonora Ivone, Blas Roca Rey, Pier Francesco Favino, Enrico Lo Verso, Marisa Merlini ecc.
Autore e regista del Film TV per RAIUNO “UN ANNO A PRIMAVERA” prodotto d a Ciao ragazzi con:
Giorgio Pasotti, Nicoletta Romanoff, Eleonora Ivone,Gigi Di Berti, Giuseppe Pambieri.
Autore e regista del Film “NON AVER PAURA” prodotto d a Gianfeanco Piccioli e Fulvio Lucisano
distribuito d a IIF con:Laura Morante e Alessio Boni.
Autore e regista del Film TV per RAIUNO “FRATELLI” prodotto d a Titania Produzioni con: Elena Sofia
Ricci, Erica Blanc, Cesare Bocci, Francois Montagut..
Regista del Film “CARAVAGGIO” per RAIUNO e RAICINEMA, prod otto d a Titania Produzioni con:
Alessio Boni, Jordi Molla, Paolo Briguglia, Elena Sofia Ricci, Claire Keim, Benjamin Sadler, fotografia di
Vittorio Storaro e musica Luis Bacalov.
“CARAVAGGIO” vince il XXXII Gran Premio Golden Chest, Plovdiv (2007) , il premio più prestigioso
dell’Europa Orientale.
“CARAVAGGIO” vince il Premio Speciale per la regia della dod icesima edizione di Capri, Hollywood –
The International Film Festival (2007)
“CARAVAGGIO” vince il premio per il miglior attore ad Alessio Boni al Festival di Shangai.
Regista del documentario “KIDOGO’” prod otto d a MARUMEDIA, con la partecipazione di Jhon Onama e
Giuseppe Carrisi. Presentato al GIFFONI FILM FESTIVAL.
Regista del Film TV “UN AMORE DI STREGA” per MEDIASET, prodotto da IMMAGINE CINEMA con:
Alessia Marcuzzi, Anna Galiena, Pietro Sermonti, Luca Ward, Eleonora Ivone, Paola Minaccioni, Michela
Andreozzi.
Regista del Film TV “LE SEGRETARIE DEL 6°” per RAIUNO , prodotto da IMMAGINE CINEMA con:
Claudia Gerini, Micaela Ramazzotti, Antonia Liskova, Tosca D’Aquino, Franco Castellano, Fabio Troiano…
Regista del Film per TV e cinema “TIBERIO MITRI - Il Campione e la Miss” per RAIUNO , prodotto d a
CRISTALDI PICTURES con: Luca Argentero, Martina Stella, Paolo Scalondro, Eleonora Ivone, Giovanni
Vettorazzo…
TEATRO
Necronomicon(1982)
L'Età dell'Oro(1983).
Vince il Premio Riccione ATER(1987) con il testo NAJA di cui cura la regia per la produzione del Teatro di
Porta Romana di Milano e del Festival di Asti.(1988)
NAJAvince i seguenti premi:
Premio Maschera d'Argento di Sipario (1989)
Quattro Biglietti D'Oro AGIS Taormina Arte(1989)
Premio Internazionale Teen Agers per il Teatro (1989)
Premio Torre per l'impegno civile (1990)
Naja partecipa in rappresentanza dell'Italia al Festival Internazionale del Teatro di Caracas
Naja é tradotto in lingua francese e tedesca ed é stato rappresentato in Francia in una versione radiofonica
dall'emittente France Culture.

Con il testo Uomini Senza Donne vince il Premio Fondi La Pastora (1988) il testo di cui cura la regia é stato
prodotto dal Teatro di Porta Romana di Milano e d al Festival di Fondi (1989)
Uomini Senza Donne trad otto in lingua francese e ted esca é stato rappresentato a Parigi presso il Théatre de
la Coline, d all'emittente radiofonica France Culture e in Germania allestito al Theater Sirene d i
Saarbrucken.
Uomini Senza Donne viene riallestito in Italia in coproduzione dal Teatro della Cometa e dal Teatro Argot
di Roma con Alessandro Gassmann e GianMarco Tognazzi con la regia dello stesso autore (1993).
E' regista e adattatore dello spettacolo I Ciechi di Maurice Maeterlinck prodotto d al Teatro d i Porta
Romana(1990)
E' autore e regista dello spettacolo Money prodotto d al Teatro di Porta Romana(1991).
E' finalista del Premio I.D.I.1992 con il testo teatrale Bruciati di cui cura la regia dello spettacolo con
Amanda Sandrelli e Blas Roca Rey presentato al Festival di Taormina Arte 1993 per la prod uzione del
Teatro Argot e del Teatro della Cometa.
E' autore del testo Hot Line prodotto dal teatro Juvarra di Torino e presentato al Festival di Asti Teatro 1993
con Id a di Benedetto e con la regia di Richi Ferrero.
E' finalista del Premio G. Fava con il testo teatrale Cavallo. (1993)
E' finalista del premio Fondi La Pastora (1994) con il testo Ostaggi.
Biglietto d'oro AGIS 1994 per lo spettacolo UOMINI SENZA DONNE
con G. Tognazzi, A. Gassmann.
Biglietto d'oro AGIS 1994 per lo spettacolo BRUCIATI
con A. Sandrelli e B. Roca Rey.
E' autore e regista dello spettacolo LE MADRI con Sabina Vannucchi, Micol Pambieri, Marianna Morandi e
Alessandra Costanzo, prod otto dalla Cooperativa Argot e dalla Società per Attori e andato in scena nella
stagione 94-95 al Teatro della Cometa a Roma.
E' autore e regista di un nuovo allestimento del testo HOT LINE (1995) con Vera Gemma per la produzione
della Compagnia Teatro Moderno.
Vince il Premio SuperFondi per UOMINI SENZA DONNE. (1995)
E' autore e regista dello spettacolo TESTIMONI con Alessandro Gassman e GianMarco Tognazzi prod otto
dal Teatro Argot e dalla Società per Attori. (1996)
E’ autore e regista d i una nuova messa in scena di NAJA(1997-98) prod otta dalla coop. ARGOT con Enrico
LoVerso, Francesco Siciliano, Stefano Accorsi, Lorenzo Amato, Adelmo Togliani.
E’ autore e regista dello spettacolo MACBETH CLAN (1998-99) prod otto dal Piccolo Teatro di Milano
Teatro d’Europa con Raoul Bova, Chiara Muti, Giovanni Visentin, Paolo Scalond oro...
E’ autore e regista dello spettacolo XANAX (2001-2002) prod otto da Fox e Gould e da Todi Arte Festival
con Amand a Sandrelli e Blas Roca Rey.
E’ autore e regista dello spettacolo BRAVI RAGAZZI (2008) prodotto d a Sycamore T Company e Indie
Occidentali con Lorenzo De Angelis, Riccardo Francia, Valerio Morigi, Edoardo Persia (vincitore della
rassegna Schermo-Scena 2008 organizzata d a Ennio Coltorti)
E’ autore e regista dello spettacolo COL PIEDE GIUSTO (2009) prodotto d a Indie Occidentali con Amand a
Sandrelli, Blas Roca Rey, Eleonora Ivone, Simone Colombari.

E’ autore e regista dello spettacolo VITA (2009) Presentato al Festival di Todi, con Antonella Attili, Eleonora
Ivone, Simone Colombari.
E’ autore e regista dello spettacolo TESTIMONI (2010) Nuova edizione, prod otto da Indie Occidentali, con
Giampiero Ingrassia, Cesare Bocci, Giovanni Vettroazzo.
PUBBLICAZIONI
Ha pubblicato il testo teatrale NAJA nella collana teatro degli OSCAR Mondadori
Ha pubblicato il romanzo CACCIA ALLE MOSCHE negli Oscar Originals. Mondadori
Ha pubblicato il testo teatrale UOMINI SENZA DON NE nella rivista Ridotto e nella rivista Hystrio.
Ha pubblicato il testo teatrale BRUCIATI nella collana teatro della casa editrice RICORDI.
Ha pubblicato il testo teatrale HOT LINE nella rivista teatrale Hystrio.
Ha pubblicato il testo teatrale TESTIMONI nella collana teatro di COSTA e NOLAN.
Ha pubblicato il testo teatrale I LUPI nella collana BOCCASCENA della casa ed itrice Edizioni
Interculturali
Ha pubblicato per MONDADORI il romanzo “SIAMO SOLO NOI” (2006).
RADIO E TELEVISIONE
Autore e sceneggiatore d ella serie televisiva di RAIDUE Atelier per la regia di Vito Molinari(1982).
Collabora alla trasmissione Buon Giorno Italia su Canale5 (1987).
E' autore e regista di due serie televisive per ragazzi su JUNIOR TV
Ha sceneggiato cinque radiodramm i gialli per RAIDUE della serie Brivido Italiano.
E' autore di alcuni radiodrami prod otti e diffusi d alla RAI: OSTAGGI, Uomini Senza Donne, SPARRING
PARTNER, CACCIA ALLE MOSCHE...
E’ autore e regista di una versione televisiva di Testimoni per RAIDUE con G.Tognazzi e A. Gassman.

The Producer
MASSIMO CRISTALDI and CRISTALDI PICTURES
Massimo Cristaldi began his career in film production in 1976 when he started work
as a production assistant for his father, legendary Italian producer Franco Cristaldi, in
the family business Vides Cinematografica (from 1980 known as
CRISTALDIFILM). He quickly graduated to Unit Manager and over the next nine
years learned his craft on around 20 features.
From 1983 he worked as both a Production Manager and Production Supervisor, as
well as being Executive Producer on many features and television productions
involving renowned Italian and international directors, including Federico Fellini,
Giuseppe Tornatore, Franceso Rosi, Gillo Pontecorvo, Sergio Corbucci, Nanni Loy,
Luigi Magni, Giuliano Montaldo, DuccioTessari, MarcoVicario, Carlo Carlei, Sergei
Bondarchuk, Michael Anderson, Alexandre Arcady.
Following the death of Franco Cristaldi in 1992, Massimo Cristaldi took over
CRISTALDIFILM and still oversees the sales of its famous film library.
With his acquisition of the well-known Italian distribution company Lux Film in
1996, he enlarged the already substantial CRISTALDIFILM catalogue to nearly 250
films many of which are regarded as milestones in Italian film history. The actors,
writers and directors of these films represent a roll-call of the greatest exponents of
the cinema arts and industry, not only in Italy but internationally, producing classic
titles including Divorce-Italian Style, Amarcord, Cinema Paradiso, Big Deal on
Madonna Street, Salvatore Giuliano, Seduced and Abandoned, Senso, Bitter Rice,
The Name of the Rose.
Besides countless Italian and European awards, CRISTALDIFILM is a three-time
Academy Award (Oscar) winner: twice for Best Foreign Language Picture with
Federico Fellini’s Amarcord and Giuseppe Tornatore’s Cinema Paradiso, following
an Oscar for Best Original Screenplay with Pietro Germi’s Divorce Italian Style.
The company’s worldwide hit The Name of the Rose set a new Italian box office
record when it was released as well as setting a new standard for international coproductions.
Further information on CRISTALDIFILM can be found at
www.cristaldifilm.com
In 1993 Massimo Cristaldi founded CRISTALDI PICTURES, building on the
foundation established by his father and continuing Franco Cristaldi’s entrepreneurial
approach to film-making, focusing on both quality and commercial criteria, thus
merging art with industry.

From 1997 to 2002 Massimo Cristaldi served as President of the APC (Italian
Association of Independent Producers).
CRISTALDI PICTURES productions include:
The Roots of the Future: Alexander Dubcek - (1994) - Documentary film
Directed by Alessandro Giupponi
The Italians are Coming (Arrivano gli Italiani) - (1995)
Directed by Eial Halfon - An Italian/Israeli co-production
Starring Franco Nero and Asher Tzarfati
Passage to Paradise (Passaggio per il Paradiso) - (1996)
Directed by Antonio Baiocco - An Italian/French co-production
Starring Julie Harris and Tcheky Karyo
Executive producer: David Bowie - Music: Pat Metheny
The Montreal World Film Festival (1996) (Official Competition):
Mention spéciale du Jury Oecuménique
Fort Lauderdale Film Festival (1996) (Official Competition):
Best Music - Best Production in a Foreign Film
Dio ci ha creato gratis - (1998/1999) - TV miniseries (2x100')
Written and Directed by Elvio Porta - A Cristaldi Pictures production for Mediaset
(Channel 5)
Based on the best-seller by Marcello D'Orta
Starring Leo Gullotta and Nino Manfredi
Submerged - (2001) - TV movie (100’) for NBC (prime time May 20, 2001)
Directed by James Keach - Production Services in Italy and Malta for Once Upon A
Time Films Ltd
Starring Sam Neill
Our Italian Husband - (2003)
Written and Directed by Ilaria Borrelli - A Cristaldi Pictures production in
association with Medusa Film
Starring Maria Grazia Cucinotta, Pierfrancesco Favino, Brooke Shields, Chevy Chase
Italian Film Festival - Mexico (2004): Best Picture Award
The Geometry of Love - (2005) - 60’ Documentary from the book by Margaret
Visser
Directed by Paul Carvalho - Production service in Rome for Les Producions Colin
Neale

La Pacificazione - (2006) - 15’ Short film - Directed by Tommaso Rossellini
L’Amour caché - (2007)
Directed by Alessandro Capone - An Italy/Luxembourg/Belgium co-production
Starring Isabelle Huppert, Mélanie Laurent, Greta Scacchi, Olivier Gourmet
Toronto International Film Festival (Visions ) - 2007
Rome Film Festival (Official Competition ) - 2007
Rita - (2009) - 16’ Short Film
Written and Directed by Fabio Grassadonia and Antonio Piazza
110 International Festivals, 37 Awards among which:
Festival Premiers Plans d’Angers: Prix Arte
Aspen Short Films Festival: Best Directing Award
La Semaine de la Critique - Cannes 2010: Official Selection
Edinburgh International Film Festival: Best Short Film
Brooklyn Film Festival: Best Short Film
Tiberio Mitri - The Boxer and The Beauty Queen - (2011) - TV miniseries
(2x100’)
Directed by Angelo Longoni - A Cristaldi Pictures / Raifiction co-production
Starring Luca Argentero and Martina Stella
Festival de Télévision de Monte-Carlo (Official Competition) - 2012
In pre-production:
Salvo - Written and Directed by Fabio Grassadonia and Antonio Piazza
An Italian/French coproduction: Cristaldi Pictures - Acaba Produzioni /Mact
Productions - Cité Films
In development:
Han the Forger - Screenplay by Antonio Falduto and Pierluigi Frassineti
Where the sun rises - Screenplay by Louis Nowra and Antonio Falduto
Sex, Drugs & Mozart - Screenplay by Carl Gottlieb