Michele Vietri film director and actor
A chi tanto a chi niente (2006)
Storia possibile di un critico di provincia
(The possible story of a provincial Critic)
Synopsis
“A chi tanto e a chi niente” (2006) is the possible story of a “provincial” critic. Synopsis: This is a documentary-film on the story of Camillo Marino, a journalist-critic of films and director of the festival of cinema called “Laceno D'Oro”, to whom Ettore Scola dedicated the character of Nicholas (Stefano Satta Flores) in his film “C’eravamo tanto amati”. The docu-film tries to deal with the personality of Camillo starting from the years of his formation as a communist while attending the lectures of the great mathematician and artist Renato Caccioppoli at the University of Naples, highlighting his famous speeches and questions at the Venice festival press conferences, whose liveliness and colour is pointed out by many critics and directors, concluding with the end of the “Laceno d’oro”, because of the chronical lack of money, in the 80s, that is during the years of the so-called “demitiano” political power in Camillo’s native town.
The idea of this festival came from Piepaolo Pasolini to whom Marino sent a letter inviting him to visit Avellino and its province. The two became friends immediately. We are in 1959 and in those mountains of the entroterra of campania a community was insediata peasant who never incarnated the stopped dream of an authenticity that at the beginning of the economic boom and of the consumismo represented nearly one rarity for the director of "Beggar". Pasolini realized that it had to far away carry the cinema in that south from the places of consumption of the cultural present time. In the same way, the intention of Marine Camillo was therefore the redeem of the boors (in order to use a often used expression from the same organizers of the review) through the cultural instrument of the cinema in a province and a city in which the masses substantially they were enslaved to the political power and all tinned in a do-nothing policy or absence total of cultural occasions.
Later on, for all the sixties, the “Laceno D'Oro” became, in age of Cold War, also a cultural bridge with the European east, turning out one of the little appointments in Italy with the cinema produced beyond the iron curtain. The same Marino become very well known in the countries of the East.
In first years seventy collaboration with Cesare Zavattini begins one strongly. Entirety plans the creation of the 'Cinegiornali of the Proletariato'. Zavattini in some letters describes proposed to you essential of the initiative. The avellinese review would have had to be part of this plan. Never completed.
Incredibly - but Camillo Marino possessed a fine smell - instead, an important function the Festival had it in the continuous discovery and promotion of new cineasti, many of which would have continued with optimal affirmations the cinematographic career.
In the following years, then, the episodes were not rare in which the Laceno D'Oro it was the occasion for giving voice to who endured the censorship. The more famous cases are the film of Brass "the Key" and the South American film presence and directors, victims of the fascist censorship in the own countries.
At the same time the festival had always to fight with the chronic lack
of money and the political boycotting of some administrators of the past.
Let alone with the cultural ristrettezze to which a provincial atmosphere
however it nailed it. In the 89 this Festival, one of oldest of Italy, reached
very XXVIII editions, finished definitively.
