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In Marco BellocchioHBO SHOW “Portobello“Which was just running from Venice Film FestivalDear Italian Auturur reconstructs one of the strongest Italian strongest justices.
Medium series with six episodes in the right story of the popular Italian TV Host of Enzo Torantor, which,, among other programs, has received a receipt called “Portobello”, which was strained at the Italian state emitarian Rai for seven seasons starting in 1977.
In 1985, the Tortora accused several alleged former former former informed and witnesses to state witnesses that part of the Nazalitan crime union was dedicated to drug trade. After being sentenced to 10 years in prison and spent a long-ended trial – plus a long-fully fully fully fully fully fully fully followed a widespread belief that TV hosted was the victim of corrupt judges and prosecutors. He died in 1988., after a short revive “Portobello” on TV.
“Portobello” will be the first HBO original Italian production that will run on the HBO Max Streaming platform, debuts 2026. years.
Plaque – and still very active – Bellocchio, which is 85, is considered the greatest living Italian director of the old guardian of the country during the 1960s. His recent works contain 2019. Drama “traitor”, about the first highly ranking member of Cosa Nostra to break the oath of Sicily Mafia, which was released in Sony pictures of classics. In 2023. he shot “kidnapped”, who reconstructs the right story of Edgard Mortar, a young Jewish boy who was kidnapped and forcibly raised as a Christian in Italy in Italy in the 19th century.
Below, Bellocchio speaks tO Sorte About why he decided to show a story about a man who, as he puts it, “he was so far away from my world.”
What drew you in this story?
It was certainly not the mission of justifying an injustice, which suffered Enzo Tortor. I think it was more of the fact that, like a character, was such a remote from my world. The emotional inspiration arrived when I read the letters he wrote his partner Francesca Scopellity. Although I didn’t like some of the floral adjectives of the tortor I was used, I paved myself to the fact that he was completely without defense. He was trying to adapt to life in a prison cell with five more prisoners, in beds on the drops in the middle of oppressive, absurd heat. And not than resenting or furious or furious, what comes in letters is his pure strange thing in this distress.
How would you describe the tortor?
He had a rather Anglo-Saxon way in the way he addressed and a certain elegance. But on the other hand, he was quite cynical, especially in the types of people he had on the show. They scrolled from hypnotic to perform NUNS and false inventors – the entire characters who were both comic and absurd. I remember there was a guy who wanted a job in the cemetery and regret that it was necessary to withdraw some strings. He didn’t make fun of them, but he would turn it deeply involved in his problems, even absurd.
“Portobello” reunited again with Fabrizio Gifuni, who played Aldo Moro in your TV series “External night.” Was it easy choice for casting?
Gifuni was good appropriate because he has a background of legal studies and careful attention to detail. I also knew that his father, a highly ranking politician, was briefly involved in a trial based on false evidence from which he was cleared of all charges. It’s not that his father ever was arrested, but I knew it was that Fabrizio felt strong. Of course, there was a precedent for him as Moro plays. And I knew they had to be two very different characters. Moro was powerless and was eventually killed. The tortora finally struggles back and get rid of, but is fatally wounded.
“Portobello” also reunites you with a great Barbor Bobulov, which plays sister Tortor. She debuted in Italy on the big screen in your film 1997. “Prince Homburg”. How was it going back together?
Barbora is more than just a good actress. Although not Italian (Bobulova is Slovenian, it is already working in Italy), it knows how to permeate roles that can be medium and quite special credibility. Maybe there’s no big scene, but she really knows how to fit. So it was great to cut off again.
Let’s talk a little about the character of Toritor’s sister, which is an integral work of her brother, because she is his manager.
It supports it, it protects it in a way. There are a few key scenes where, suddenly, almost like a child, he asked, “How did I do?” It’s something I picked up, so that a man who was so popular TV personality would ask for his sister to security at the end of each show. It was desperate that should. She also tried to protect him from a possible scandal when it comes to his much younger partner Francesca. It’s not that his sister is against this extramarital relationship. But she warns him and says, “Look, you have a Catholic audience, so be careful.”
In “Portobello”, you seem to go to a more naturalistic tone than “external night”, both in a narrative and set design. Is that correct?
Yes. In “Portobello”, the TV show is a central image. So, we reconstructed the studio exactly as it was in Cinecitta. I felt the need for accuracy. Then there was some time limitations, so we had to cut and do a very concise installation a little. But the truth is that I was interested in transmitting a realistic view and settings and stories. So, as you say, I resorted to a certain kind of naturalism.
