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How we got the Italian movie business into - Cinematic

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					  61ª Mostra Internazionale d'Arte Cinematografica
             Venezia 61 - Fuori concorso



   Andrea Occhipinti, Giuseppe Bisso e Istituto Luce
                       present


HOW WE GOT THE ITALIAN MOVIE
  BUSINESS INTO TROUBLE:
 FRANCO & CICCIO'S REAL STORY

(COME INGUAIAMMO IL CINEMA ITALIANO LA VERA
        STORIA DI FRANCO E CICCIO)



                      A movie by
          Daniele Ciprì and Franco Maresco
THE CREW
Director                             Franco Maresco
                                     Daniele Ciprì
Screenplay                           Franco Maresco
                                     Daniele Ciprì
                                     Claudia Uzzo
With the collaboration of            Tatti Sanguineti
Editing                              Franco Maresco
                                     Daniele Ciprì
                                     Claudia Uzzo
Music by                             Salvatore Bonafede
Cinematography                       Daniele Ciprì
Sound                                Michele Tarantola
                                     Luca Bertolin
Production design & costumes         Cesare Inzerillo
                                     Nicola Sferruzza
Production Manager                   Patrizia Di Lenardo
Press Office                         Marzia Milanesi
Communication and Marketing Director Maria Carolina Terzi
Produced by                          Andrea Occhipinti
                                     Giuseppe Bisso
Co-produced by                       Lucky Red
                                     Cinico Cinema e Istituto Luce
With the participation of            RAI Cinema
Format                               1.85
Sound                                Dolby SR
Duration                             98'
THE CAST
Gregorio Napoli                          as himself
Francesco Puma                           as himself
Tatti Sanguineti                         as himself


Also starring (in alphabetical order, as themselves)
                                         Gaetano Andronico
                                         Giuseppe Ayala
                                         Lino Banfi
                                         Pippo Baudo
                                         Fana e Ina Benenato
                                         Maria Letizia Benenato
                                         Massimo Benenato
                                         Bernardo Bertolucci
                                         Lando Buzzanca
                                         Rosaria Calì Ingrassia
                                         Pino Caruso
                                         Alberto Castellano
                                         Tano Cimarosa
                                         Osvaldo Civirani
                                         Nino D'Angelo
                                         Ninetto Davoli
                                         Giovanni Fago
                                         Goffredo Fofi
                                         Lucio Fulci
                                         Riccardo Garrone
                                         Gabriella Giorgelli
                                         Giampiero Ingrassia
                                         Tullio Kezich
                                         Francesco La Licata
                                         Mariano Laurenti
                                         Fulvio Lucisano
Mario Merola
Mario Monicelli
Giancarlo Nicotra
Vincenzo Nucci
Riccardo Pazzaglia
Pipolo
Gina Rovere
Pietro Scalisi
Michele M Tarantini
Florestano Vancini
Vittorio Vighi
Alvaro Vitali
Enzo Vitaliano
        How We Got the Italian Cinema Into Trouble:Franco & Ciccio's Real
Story
      There were two missed chances among the reasons that encouraged us to make a
movie about Franco and Ciccio.
       The first one dates back to 1992, when we met them - actually we met Franco - for
a project to be carried out with them for Rai3, during the years of 'Cinico TV'. Franco,
who also on that occasion showed himself as instinctive, spontaneous and amusing,
already knew our work ("I would watch your shows on TV, and I kept laughing and
thinking to myself, 'what kind of stuff is this?'); left me the phone number of a bar he
used to own in Rome, with the promise we would talk to each other after the summer.
But in December he passed away.
       Our second missed chance was three years ago, when we got in touch with Ciccio
for Cagliostro: we realized straight away that he did not feel well, he was kind of
dispirited. However he was really kind and very talkative, he said he knew us, he had
seen and liked Lo zio di Brooklyn, and had - unlike Franco - picked up some the peculiar
aspects of our work . We exchanged long conversations on the phone (but we were
foolish enough not to record them) during which his memories went back to the years of
his debut, of the variety. But Ciccio was tired, cinema could be nothing other than
memories to him.
       Come inguaiammo il cinema italiano (How We Got the Italian Cinema Into
Trouble) is a sort of a belated compensation for an artistic encounter that we really
hoped for but that never came to life. But it also expresses our wish, despite the huge
gap between them and us, to bring forward a few elements of strength: Sicily, Palermo, a
professional partnership, the adventurous way - and in some ways totally casual - we
approached the cinema world (where they however entered), with a spontaneity typical
of the Latin comedy.
      To us, dedicating this movie to them means going back to our roots, to our past;
when Franchi and Ingrassia were our daily bread, when we used to go to the poor and
shabby theatres of our hometown. This experience can be compared to going to the
psychoanalyst and having to deal with the ghosts of one's past.


        If it were a literary text, Come inguaiammo il cinema italiano. La vera storia di
Franco e Ciccio, would be a work of popularization with a specific purpose: to show the
artistic route of two artists whose careers have spanned the Italian entertainment
industry for over thirty years.
      The movie chronologically follows their steps: starting off with their separate
"debuts", then their encounter and the road to stardom.
       In the beginning, the movie highlights the essential background of Franco and
Ciccio, their life in Palermo; Ciccio was at the time a shoemaker and an underpaid actor
working in live variety, while Franco - who came from the working class, and was even
poorer than his soon-to-be professional partner - was devoted to the "posteggia", a
typical street theatre (where the stage was defined by a circle drawn with a piece of
chalk) that nevertheless managed to feed him almost everyday.
      The two men met at the Bar degli Artisti, near the Palermitan theatre, Trianon,
frequented by real actors as well as wannabes.
       Ciccio had already seen Franco performing his acrobatics on the street and had
had a good time.
      The movie is now at a turning point: the duo's 1954 debut occurred in a typical
way: Ciccio, called in to replace the comedian of the theatre company, 'Pasquale Pinto'
from Naples, proposed to bring Franco with him on stage.
      The debut took place in Castelvetrano: the duo was acclaimed by the audience
who will long remember their "Core 'ngrato"; afterward they toured throughout Italy,
even performing at the prestigious Salone Margherita.
      After three years they met "Complesso Calì", a family group of 5 musicians (the
daughter Rosaria eventually became Mrs. Ingrassia), with whom they set up a
musical-comedy show that became a hit: "Due in allegria, cinque in armonia"; another
tour was organized.
       In 1959, together with Gino Buzzanca (Lando's uncle), they were discovered by
Domenico Modugno, who immediately sensed their extraordinary comical strength and
their unique entertaining potential. Once invited on the set of Appuntamento a Ischia,
they met Mattoli and ended up as part of the cast: that marked their debut in the film
industry.
       It's the beginning of the rapid rise to stardom: Modugno signed a 5-year deal with
them and they were immediately offered the leading roles of Pazzaglia's L'onorata
società; in the same year they reached the 'consecration' with "Rinaldo in campo" by
Garinei e Giovannini, opposite Modugno and Delia Scala. They began to shoot an
endless string of movies, averaging 12-14 films a year, unprecedented in the Italian film
industry.
        We dedicated an important section to their encounter with Fulci, who had always
held them in great esteem (thus becoming their favourite director); the thirteen movies
that they did together are actually the most accurate of the duo even if they still followed
the rules imposed by the genre (timing, costs and comical situations). Who then was to
blame - we ask at this point - for the few bad films made by the duo? Many, we answer,
among those who were responsible for the duo's fortune in those years; and though the
critics were almost insulting them, they didn't give a damn, as their movies grossed
incredible amounts at the box offices.
       In the middle of the 60s, Franco and Ciccio started to quarrel (one of the reasons
was that Ciccio wanted to be selective regarding their incoming offers, while Franco was
eager to accept almost anything). Called on by Monicelli for L'armata Brancaleone, the
two actors - who at that point did not speak not even look at each other - showed up
with their respective lawyers: obviously nothing was done.
      Another important moment of their lives, told by our film, is their encounter with
Pasolini, who was aware of their "important past still influencing our present".
      At the end of the 60s interest in them started to fade: filmmakers turned to the
police movies and to a sort of erotic-comical genre despised by Franco and Ciccio.
      In 1972 they split up; Ciccio made his first solo movie (La violenza: quinto potere
by Vancini) and discovered a talent for drama; Franco started a career as a singer
(Canzonissima, Naples' Festival).
       In 1974 they got back together. In the meantime Ciccio had met Fellini and
Franco had shot Ultimo tango a Zagarolo, after which he was sorry he had betrayed his
public in the scene where he shows his bum.
      They shot a few commercials at the end of the 70's and in 1983 they landed in the
Fininvest network, touching bottom with very cheap shows.
       In their declining years, they shot Crema, cioccolata e… paprika, a gift made by
boss Michele Greco to his son Giuseppe, who wrote and starred in it; this was the event
that involved Franco in an investigation carried out by the Italian authorities against a
mafia clan; but from the visit of the Carabinieri on 30th June 1989, he never recovered.


       Come inguaiammo il cinema italiano. La vera storia di Franco e Ciccio has used
unpublished materials, as well as excerpts from TV and stage performances; the friendly
participation of witnesses, colleagues and critics; the affectionate partnership and
precious contribution of the Benenato and Ingrassia families, whom we thank deeply.


      Daniele Ciprì and Franco Maresco
      COME INGUAIAMMO IL CINEMA ITALIANO: LA VERA STORIA DI FRANCO
E CICCIO has used sequences from the following films:


    1960    Appuntamento a Ischia - Mario Mattoli
    1961    L'onorata società - Riccardo Pazzaglia
            Il giudizio universale - Vittorio De Sica
    1962    I due della legione - Lucio Fulci
    1964    I due mafiosi - Giorgio Simonelli
            L'amore primitivo - Luigi Scattini
            I due evasi di Sing Sing - Lucio Fulci
            Sedotti e bidonati - Giorgio Bianchi
    1965    I due pericoli pubblici - Lucio Fulci
            Due mafiosi contro Goldginger - Giorgio Simonelli
            002 Operazione luna - Lucio Fulci
    1966    Due marines e un generale - Luigi Scattini
            Come svaligiammo la Banca d'Italia - Lucio Fulci
            Le spie vengono dal semifreddo - Mario Bava
    1967    Come rubammo la bomba atomica - Lucio Fulci
    1968    Capriccio all'italiana - Pier Paolo Pasolini - (IV ep Che cosa sono le
            nuvole?)
            I zanzaroni (II ep. Quelli che restano) - Ugo La Rosa
    1970    Ma chi t'ha dato la patente? - Nando Cicero
            I due maghi del pallone - Mariano Laurenti
    1972    La violenza: quinto potere - Florestano Vancini
    1973    Amarcord - Federico Fellini
            Ultimo tango a Zagarolo - Nando Cicero
    1976    Todo Modo - Elio Petri
    1981    Crema, cioccolata e... paprika - Michele M. Tarantini
    1984    Kaos (III ep. La giara) - Paolo e Vittorio Taviani
      THE AUTHORS: CIPRÌ AND MARESCO
      DANIELE CIPRÌ, born in Palermo on 17th August 1962, is the son of a
photographer who used to run a studio specializing in wedding pictures.
       "I come from a family of artisans where we needed to continually invent a new
job. My father was one of the last repairers of TV and film cameras, he was a technician.
He helped me a lot, providing me with a thing I liked, the cinema. I was fascinated by
this trade, I gave up my studies but I never regretted it". Soon he started working in a
service cooperative."
       FRANCO MARESCO, born in Palermo in 1958, started to work at a very young
age for radio and private TV networks. Particularly, he worked for jazz and cinema
programs for Radio Palermo Centrale, which back then had a big following. In 1980, he
landed in a film club called Nuovo Brancaccio, which operated in one of most infamous
mob areas of the town. In 1983 he founded a film and entertainment cooperative,
Rosebud, and in 1985, he opened a video store that soon became a renowned meeting
place for movie lovers.
       FRANCO AND DANIELE started their collaboration in 1986, making micro-edits
with movie fragments appearing on video in the local network called TVM. In 1990, the
shorts of Cinico TV landed in Fuori Orario by Enrico Ghezzi (Rai 3) affirming
themselves on a national level; later they appeared on Blob (in 1992, 49 episodes of
"Blob - Cinico TV") and Avanzi. Palermo is here depicted as a devastated city, with an
apocalyptic landscape, populated by desperately grotesque characters, miserable and
disgusting, sloppy and blasphemous, real freaks living on the edge of a post-Pasolini
environment; they are immersed in absurd situations and sculpted in classic black and
white, providing them with a poetic and tormented dignity. A fiercely desecrating spirit,
a taste for sneers and paradox are also the main qualifications of their next jobs, where
the settings, the characters and the movie quotes are most recognizable.
       In 1995 they completed their first feature film, Lo zio di Brooklyn, extreme and
radical, showing the desert suburbia of Palermo, where "it looks like the end of the
world took place". Then followed Totò che visse due volte (1998), a fiercely iconoclastic
movie which aroused much controversy, also due to the censorship that blocked its
screening in the theatres. In 1999 they did Enzo, domani a Palermo!, the tragicomical
video-biography of Enzo Castagna, a small mafia boss from Palermo, who controls the
employment of the extras in the Sicilian world of TV and cinema.
       In February 2002 they debuted in the Venice Biennale with Palermo può
attendere (produced by Giuseppe Bisso for the Biennale), in which the actors on scene
(Luigi Maria Burruano, Mimmo Cuticchio, Gino Carista) interacted with the landscape
and the actors (Franco Scaldati) moving along three screens, which were part of the set
design.
      In 2003, they finally were equally praised by both critics and audience with Il
ritorno di Cagliostro, a movie presented in the section "Controcorrente" at 60th Venice
International Film Festival.
FESTIVALS - RETROSPECTIVES - AWARDS
Festival (selection)
Berlin
Venice International Film Festival
Locarno
Rotterdam
Vila do Conde
Torino Film Festival
Bellaria - Premiere for the Independent Italian Cinema
Retrospectives (selection)
Lisbon - Portuguese Cinemateca
Paris - Cinémathèque
London - Institute of Italian Culture
Tokyo
Rochester, NY
Awards (selection)
Premio Aristofane (1992) - awarded to TV satire
Premio Forte dei Marmi (1994)
Premio Saint Vincent (1996)
Premio Casa Rossa - Bellaria (1996)
Premio "Lo straniero" (2003) - given by the Fondazione Carmelo Bene
VIDEO - FILMOGRAPHY
1986   Il lato estremo del visibile (cm)
1988   Così (cm)
1989   Pasta e patate (cm)
       Mai (cm)
1990   Illuminati (cm)
       Omaggio a E. (cm)
       Loro di Palermo (cm)
1991   Stanley's room n°1 (cm)
       Stanley's n°2 (cm)
       Seicortosei (cm)
       Addio o Arrivederci (cm)
       Santa Maria (cm)
       Verso Vertov (cm)
1992   Venerdì Santo (cm)
       Keller (cm)
       Martin… a little (con Martin Scorsese) (cm)
       Il corridore della paura (con Samuel Fuller) (cm)
       Metamorfosi di una melodia (con Amos Gitai) (cm)
       Cani (cm)
1993   Pasta e fagioli (cm)
1995   Lo zio di Brooklyn (lm)
1996   K (cm)
       Il Manocchio (cm)
1998   Totò che visse due volte (lm)
1999   Enzo, domani a Palermo! (mm)
       Steve plays Duke (mm)
2000   Arruso (cm tv)
       Tutti for Louis (mm tv)
2001   Miles Gloriosus (mm tv)
2002   Dieci minuti alla fine (cm)
2003   Il ritorno di Cagliostro (lm)
2004   Come inguaiammo il cinema italiano.
             La vera storia di Franco e Ciccio (lm)
Television      Cinico tv (Raitre, 1990-1994)
Theatre      Palermo può attendere (2002) - for the Biennale Teatro
       FRANCO FRANCHI & CICCIO INGRASSIA
       FRANCO FRANCHI - real name Francesco Benenato - was born in Palermo in
1928, the fourth son of thirteen children. Due to his very poor background - his father a
mason and his mother a worker at the local tobacco factory - he was forced to quit
school at the age of 8 and started to work any kind of trade in order to survive.
"Madonnaro" (someone who carries a Madonna statue on the streets and receives
money from the local people) helper in a pastry shop, porter at Palermo railway station,
he soon showed a strong comic quality - he is said to have amused all the area where he
used to live already when he was four.
        Fascinated by the musical bands taking part in the town feasts, processions and
fairs, he started off being an itinerant player, first with a company of "striscianti", later
in the company of the "posteggiatori", led by Salvatore Polara, with whom he would
work for several years. At the end of the war, the company performed not only in
Palermo, but also in the small province towns, and Franco had the opportunity to create
new gags - among which was the one of Ciccio Ferraù, that made him famous - as well as
excellent imitations of Totò, Mussolini and Hitler. At the age of 20, he was also a host
for weddings and christenings as well as a 'boy Friday' in a little circus.
        In 1950, after breaking up with Polara, he debuted on stage where he worked for
three years. In 1953 he married Irene Gallina, and they had two children - Maria Letizia
and Massimo - and the following year he started working with Ciccio Ingrassia. Their
artistic association, ranging from theatre to cinema and television, continued on with
high and lows until 1992, when Franco died, after a sudden illness.
       Apart from the innumerable series of movies shot as a duo, Franco performed on
his own in different movie parodies, among which in 1973 were Ultimo tango a
Zagarolo and Ku-Fu? Dalla Sicilia con furore, both by Nando Cicero. But Franco's
career was also characterized by his deep love for music: actually he had a tenor voice
and sang with a classic style. He took part in the Sanremo and Naples Festivals and in
Canzonissima, recording different hits, among which were L'ultimo dei belli and
Casanova 2000. In television he was the host of Buonasera con…Franco Franchi
(1978) directed by L. Fulci and interpreted Un uomo da ridere (1980) by the same
director.


      CICCIO INGRASSIA - real name Francesco Ingrassia - was born in Palermo in
1922. Like Franco he was the fourth son - of only 5 children, though! - and he also came
from a modest family: his father was a mason and his mother a housewife. As soon as he
got his elementary school diploma, he tried different jobs: barber, carpenter,
shoemaker, grocer, shoe cutter and modeller - while his father wanted him to be a
mason.
       When he was a teenager, he developed 'theatre fever' and went to watch any
performance shown in the small theatres or the suburban cinemas in Palermo, where he
could get in for free as a "claquer". Later he started to perform at parties, wedding feasts
and christenings, always with the same gags: Totò, "Agata, guarda, stupisci", was his
forte.
       In 1944, together with two friends - Enzo Andronico and comedian Ciampolo - he
formed the trio "Sgambetta" that debuted in Termini Imerese and later reached the
North of the country, starting from Turin where his sidekick was the newcomer Gino
Bramieri. In 1950 he created a new trio with Cecé Doria and Maurel, whose showpiece is
the one of the three transvestites, and four years later he started working with Franco
Franchi. In 1960 he married Rosaria Calì - who was part of "Complesso Calì", an
orchestra that played for the duo's tour - and after one year he became the proud father
of Gianpiero.
       As for his companion, he also caught a few chances to go solo: while Franco
enjoyed performing his famous parodies, Ciccio interpreted some important dramatic
roles for Vancini (La violenza: quinto potere, 1972), Fellini (Amarcord, 1973) and Petri
(Todo Modo, 1976). The latter won him the Nastro d'Argento as Best Supporting Actor.
In 1974 he went behind the camera to direct his partner in Paolo il freddo, and the year
afterwards he directed himself in L'esorciccio. In 1991 he was awarded the David di
Donatello award for Best Supporting Actor in Condominio (1990) by Felice Farina. After
Franco's death, he quit the scenes and went back to the cinema only for small roles,
among which was in Giovani e belli (1996) by Dino Risi.
      He died in Rome in 2003, due to respiratory problems that had affected him for
two years.
      FRANCO AND CICCIO, TWO ICONS OF ITALIAN COMEDY
      Quoting a film by Osvaldo Civirani of 1971, only one of the many films interpreted
by the duo, they met in a theatre, landed in cinema and ended up on TV, following a
varied and frantic artistic route, not always linear, that still represents a unique
experience within the Italian entertainment industry.
       Since their debut at the theatre Costa of Castelvetrano (TP) in 1954, with the
parody of the famous Neapolitan song Core 'ngrato, the two started an exclusive
relationship characterised by true partnership, both private and public, based not only
on a common background but also on a physical level, in their unforgettable way. After
performing for a few Sicilian companies, in the summer of 1958, they were discovered
by Domenico Modugno who hired them for the musical comedy Rinaldo in campo by
Garinei and Giovannini - where they sang together the renowned Tre somari e tre
briganti -, and later in the film by Mario Mattoli, Appuntamento a Ischia (1960), which
marked their debut in cinema. From that moment on, they started a frantic cinema
career that reached its climax in the years '64-'66, when they made 38 films - a record
that not even the great Totò was able to break.
       Exceptionally talented comical interpreters, they were contended by numerous
directors who hired them mainly for their parodies of the hits of the time: together they
played the parts of secret agents, sansculottes, gringos and mobsters, adored by the
public but despised by the critics. However they also have enjoyed moments of glory:
Due marines e un generale (1966, Luigi Scattini) with Buster Keaton in his last
performance; an episode of Capriccio all'italiana (1968) where Pasolini wanted them
next to Totò; the memorable roles of the Cat and the Fox in Le avventure di Pinocchio
(1972) by Luigi Comencini as well as Kaos (1984) by the Brothers Taviani.
       Nevertheless in the '70s - as it often happens with any respected couple - the
inevitable occurred: the formula of their success wore out and the two grew tired of their
repetitive gags, feeling the need for a renewal. In the fall of 1972, after Ciccio's nervous
breakdown, the two separated for the first time, and later split up twice more, once in
the summer of 1976 and another time in the fall of the following year. In every
circumstance, TV played the role of a pacifier - either through Pippo Baudo and Mike
Bongiorno - offering them new working chances: Drim (Raidue, 1980) and Patatrac
(Raidue, 1981) or by Gianni Boncompagni, Grand Hotel (Canale 5, 1985) by Giancarlo
Nicotra - where Ciccio, due to an illness, was replaced in five episodes by his son
Gianpiero - and finally Avanspettacolo (Raitre, 1992) - also by Nicotra - that marked the
couple's last appearance.
THE DUO'S FILMOGRAPHY
1960   Appuntamento a Ischia - Mario Mattoli
1961   L'onorata società - Riccardo Pazzaglia
       Il giudizio universale - Vittorio De Sica
       Cinque marines per cento ragazze - Mario Mattoli
       Pugni, pupe e marinai - Daniele D'Anza
1962   Il mio amico Benito - Giorgio Bianchi
       Gerarchi si muore - Giorgio Simonelli
       I due della legione - Lucio Fulci
       I tre nemici - Giorgio Simonelli
       I motorizzati - Camillo Mastrocinque
       Maciste contro Ercole nella valle dei guai - Mario Mattoli
1963   Il giorno più corto - Sergio Corbucci
       Le massaggiatrici - Lucio Fulci
       La donna degli altri è sempre più bella
       - Marino Girolami (II ep. I promessi sposi)
       Due samurai per cento geishe - Giorgio Simonelli
       Avventura al motel - Renato Polselli
       Obiettivo ragazze - Mario Mattoli
       Vino, whisky e acqua salata - Mario Amendola
       Tutto è musica - Domenico Modugno
       Gli imbroglioni - Lucio Fulci (II ep. Siciliani)
1964   I due mafiosi - Giorgio Simonelli
       Scandali nudi - Enzo Di Gianni
       Due mattacchioni al Moulin Rouge - Carlo Infascelli
       I maniaci - Lucio Fulci
       Queste pazze, pazze donne
       - Marino Girolami (IV ep. Siciliani a Milano)
       Le tardone
       - Marino Girolami (II ep. Un delitto quasi perfetto)
       Canzoni, bulli e pupe - Carlo Infascelli
       L'amore primitivo - Luigi Scattini
       Cadavere per signora - Mario Mattoli
       Due mafiosi nel Far West - Giorgio Simonelli
       I due evasi di Sing Sing - Lucio Fulci
       I marziani hanno 12 mani - Castellano & Pipolo
       Sedotti e bidonati - Giorgio Bianchi
       Amore facile (III ep. L'uomo corretto) - Gianni Puccini
       002 Agenti segretissimi - Lucio Fulci
       I due toreri - Giorgio Simonelli
1965   Un mostro e mezzo - Steno
       I due pericoli pubblici - Lucio Fulci
       Soldati e caporali - Mario Amendola
       Per un pugno nell'occhio - Michele Lupo
       I figli del leopardo - Sergio Corbucci
       Io uccido, tu uccidi (I ep. La cavalleria rusticana:oggi; Gianni Puccini
       IV ep. Una boccata di fumo)
       Letti sbagliati (IV ep. La seconda moglie) - Steno
       Veneri al sole (II ep. Una domenica a Fregene)
       - Marino Girolami
       Le sette vipere - Renato Polselli
       I due sergenti del generale Custer - Giorgio Simonelli
       Gli amanti latini (V ep. Amanti Latini) - Mario Costa
       Veneri in collegio - Marino Girolami
       Due mafiosi contro Goldginger - Giorgio Simonelli
       Come inguaiammo l'esercito - Lucio Fulci
       002 Operazione luna - Lucio Fulci
1966   Due marines e un generale - Luigi Scattini
       Come svaligiammo la Banca d'Italia - Lucio Fulci
       I due parà - Lucio Fulci
       Due mafiosi contro Al Capone - Giorgio Simonelli
       I due sanculotti - Giorgio Simonelli
       I due figli di Ringo - Giorgio Simonelli
       Le spie vengono dal semifreddo - Mario Bava
1967   Come rubammo la bomba atomica - Lucio Fulci
       Il lungo, il corto, il gatto - Lucio Fulci
       Il bello, il brutto, il cretino - Gianni Grimaldi
       Stasera mi butto - Ettore Maria Fizzarotti
       I barbieri di Sicilia - Marcello Ciorciolini
       Due Rrringos nel Texas - Marino Girolami
       I due vigili - Giuseppe Orlandini
       Nel sole - Aldo Grimaldi
       Gli altri, gli altri e noi - Maurizio Di Lorenzo
1968   Brutti di notte - Gianni Grimaldi
       Capriccio all'italiana (IV ep. Che cosa sono le nuvole?)
       - Pier Paolo Pasolini
       L'oro del mondo - Aldo Grimaldi
       Franco, Ciccio e le vedove allegre - Marino Girolami
       I due crociati - Giuseppe Orlandini
       Ciccio perdona…io no! - Marcello Ciorciolini
       I due pompieri - Bruno Corbucci
       Don Chisciotte e Sancio Panza - Gianni Grimaldi
       I nipoti di Zorro - Marcello Ciorciolini
       I zanzaroni (II ep. Quelli che restano) - Ugo La Rosa
1969   Lisa dagli occhi blu - Bruno Corbucci
       I due deputati - Gianni Grimaldi
       Indovina chi viene a merenda? - Marcello Ciorciolini
       Franco, Ciccio e il pirata Barbanera - Mario Amendola
       Franco e Ciccio…ladro e guardia - Marcello Ciorciolini
       I due magnifici fresconi - Marino Girolami
1970   Satiricosissimo - Mariano Laurenti
       Nel giorno del Signore - Bruno Corbucci
       Don Franco e don Ciccio nell'anno
       - Marino Girolami della contestazione
       Franco e Ciccio sul sentiero di guerra - Aldo Grimaldi
       Principe coronato cercasi per ricca ereditiera
       - Gianni Grimaldi
       Ma chi t'ha dato la patente? - Nando Cicero
       W le donne - Aldo Grimaldi
       I due maggiolini più matti del mondo - Giuseppe Orlandini
       Due bianchi nell'Africa nera - Bruno Corbucci
       I due maghi del pallone - Mariano Laurenti
1971   Ma che musica maestro - Mariano Laurenti
       Il clan dei due borsalini - Giuseppe Orlandini
       Riuscirà l'avvocato Franco Benenato a sconfiggere
       - Mino Guerrini
       il suo acerrimo nemico, il pretore Ciccio De Ingras?
       Armiamoci e partite! - Nando Cicero
       I due assi del guantone - Mariano Laurenti
       Mazzabubù…quante corna stanno quaggiù?
       - Mariano Laurenti
       Venga a fare il soldato da noi - Ettore Maria Fizzarotti
       I due della Formula 1 alla corsa più pazza, Osvaldo Civirani pazza del
       mondo
       …Scusi, ma lei le paga le tasse? - Mino Guerrini
       I due pezzi da 90 - Osvaldo Civirani
1972   Storia di fifa e di coltello - Er seguito der Più
       - Mario Amendola
       Continuavano a chiamarli…er più, er meno
       - Giuseppe Orlandini
       I due figli dei Trinità - Richard Kean (O Civirani)
       Continuavano a chiamarli i due piloti più matti
       - Mariano Laurenti del mondo
       Le avventure di Pinocchio - Luigi Comencini
       I due gattoni a nove code e…mezza ad Amsterdam
       - Richard Kean (O Civirani)
1974   Paolo il freddo - Ciccio Ingrassia
       Farfallon - Riccardo Pazzaglia
1975   Un sorriso, uno schiaffo, un bacio in bocca - Mario Morra
       Franco e Ciccio superstars - Giorgio Geo Agliani
1976   Amici più di prima - G Simonelli, M Girolami e G Grimaldi
1977   American Secret Service (Cronache di ieri e di oggi)
       - Enzo Di Gianni
1981   Crema, cioccolata e…paprika - Michele M Tarantini
1984   Kaos (III ep. La giara) - Paolo e Vittorio Taviani
FRANCO FRANCHI'S FILMOGRAPHY
1962   Giulio Cesare contro i pirati - Sergio Grieco
1973   Il figlioccio del padrino - Mariano Laurenti
       Il gatto di Brooklyn aspirante detective - Oscar Brazzi
       Ultimo tango a Zagarolo - Nando Cicero
       Ku-Fu? Dalla Sicilia con furore - Nando Cicero
       Il sergente Rompiglioni - Pier Giorgio Ferretti
1974   Piedino il questurino - Franco Lo Cascio
1975   L'eredità dello zio buonanima - Alfonso Brescia
       Il giustiziere di mezzogiorno - Mario Amendola
       Il sergente Rompiglioni diventa…caporale - Mariano Laurenti
       Il sogno di Zorro - Mariano Laurenti
1987   Tango Blu - Alberto Bevilacqua


CICCIO INGRASSIA'S FILMOGRAPHY
1972   La violenza: quinto potere - Florestano Vancini
1973   Amarcord - Federico Fellini
1975   Il Cav. Costante Nicosia demoniaco ovvero: - Lucio Fulci
       Dracula in Brianza
       Bianchi cavalli d'agosto - Raimondo Del Balzo
       L'Esorciccio - Ciccio Ingrassia
1976   Todo Modo - Elio Petri
1979   L'ingorgo - Luigi Comencini
1988   Domani accadrà - Daniele Lucchetti
       La Bohème - Luigi Comencini
1990   Viaggio d'amore - Ottavio Fabbri
       Il viaggio di Capitan Fracassa - Ettore Scola
       Condominio - Felice Farina
1994   La via del cibo - E. Donadoni e P. Ippoliti
1995   Camerieri - Leone Pompucci
1996   Giovani e belli - Dino Risi
       Fatal Frames - Fotogrammi mortali - Al Festa

				
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