The first scene hits the tone for the entire episode: the scene is set in prison, there are two visits: one of Anna Caruso (Eurilla Del Bono), the once fiancee of late Leo de Maria, who visits her brother Franco (Silvino Vaccaro), the other one of Sante Cirinna's overcaring mother (Maria Denaro) shocked and full of disbelief that her innocent son can be put behind bars. What wretched injustice indeed! Soon one is being killed and the other is being set free because the 'great ones' throw dice in a particular manner at a particular time. The picture of a social problem, social situation and the very core of octopus's tails that Corrado Cattani has to cope with.
The plots of the previous episodes are well developed, including the relation of Corrado and countess Pecci Scialoia as well as Corrado's family situation. Here, it is done so in a memorable continuity. Paola discovers she is a 'signorina' and, in a memorable moment, calls her mum about it. Mind you what she says: Father is not a bad person... Elsa immediately reacts and says she has never thought so but it is interesting how it depicts a child, a teenager perceiving parents' seperation. Another interesting scene with her is her visit to drug addict countess's palace (she already knows that her father loves her). She goes around, looks around and touches the artefacts of the mansion and, when asked what she would like to have in her room, she replies that she does not accept presents. Soon, however, things grow pretty complicated for Paola.
The plot of Titti becomes pretty transparent and quite clear what the doings of the mafia in the region and elsewhere bring on in a person that might occur weaker, more prone to their imposition. There is a memorable moment when she escapes the place where they really care for her and want her to recover. Consequently, she appears in the streets of Trapani. Having taken drugs again from another dealer (because Cirinna is still in prison), she seems reluctant to help that Cattani and Altero offer her. She seems reluctant to the help that Don Manfredi offers her as well. Yet, she comes back. Barbara de Rossi has some emotional moments here. The haunts of criminals in her life do not leave her, though and drugs are being placed secretly in her room. She takes...Corrado's struggle, nevertheless, makes simple people touched, some put to test yet others go insane for many live on drugs and 'many die of them' (as Corrado utters among some of his lines).
However, except for the plots that develop, we have one of the critical moments of PIOVRA I - Corrado Cattani begins to investigate the matters of the banks. The bankers are his target now and, naturally Mr Ravanusa. There is a lovely moment when Corrado Cattani meets Olga Camastra (Florinda Bolkan). In their conversation where she expresses the total lack of compassion to drug addicts (saying openly that it is their decision and their choice to destroy their lives), she appears to embody the world of mafia from a woman's perspective. She embodies the world in the most memorable manner: the world that may occur magnetic, strange, yet the one you can never believe. Cattani seems to figure out a lot of machanisms of the banking system and moves further, perhaps beyond his competence.
Within that context comes the world of higher rank politicians and professors, people who should represent the world of higher values, yet, from the start appear to enhance distrust and doubt. One of them is Professor Gianfranco Laudeo (Paul Guers). This plot will, of course, be developed in seasons to come. Consider his speech that is full of interesting slogans, seemingly right intention to clear the marvelous Sicily of the mafia that destroys it, and yet,,,,you do not believe him. And neither does Corrado Cattani. Rightly so.
There is a lovely little scene near the end of the episode that I find worth mentioning. All the 'greatest' people, the richest surely sit at the table in a palace--like splendid interiors. Among them is Olga Camastra, banker Ravanusa, Terrasini and, naturally, a poet, baron Platto (Francesco Laureno). Those viewers who pay careful attention remember him from a little moment when Leo de Maria tells Corrado who is who in the first episode. They talk of a new game where they will bet who is next to be captured, kidnapped, killed accidentally. They suggest guessing...among them there is a mention of Don Manfredi but, as a priest, he seems to be too respected to become a sheer victim of their scheme. Some other names are brought up...
Strangely, something unexpected, shocking and outrageous happens at the end. Will Corrado find strength and courage to deal with, so far, the most difficult test?
The plots of the previous episodes are well developed, including the relation of Corrado and countess Pecci Scialoia as well as Corrado's family situation. Here, it is done so in a memorable continuity. Paola discovers she is a 'signorina' and, in a memorable moment, calls her mum about it. Mind you what she says: Father is not a bad person... Elsa immediately reacts and says she has never thought so but it is interesting how it depicts a child, a teenager perceiving parents' seperation. Another interesting scene with her is her visit to drug addict countess's palace (she already knows that her father loves her). She goes around, looks around and touches the artefacts of the mansion and, when asked what she would like to have in her room, she replies that she does not accept presents. Soon, however, things grow pretty complicated for Paola.
The plot of Titti becomes pretty transparent and quite clear what the doings of the mafia in the region and elsewhere bring on in a person that might occur weaker, more prone to their imposition. There is a memorable moment when she escapes the place where they really care for her and want her to recover. Consequently, she appears in the streets of Trapani. Having taken drugs again from another dealer (because Cirinna is still in prison), she seems reluctant to help that Cattani and Altero offer her. She seems reluctant to the help that Don Manfredi offers her as well. Yet, she comes back. Barbara de Rossi has some emotional moments here. The haunts of criminals in her life do not leave her, though and drugs are being placed secretly in her room. She takes...Corrado's struggle, nevertheless, makes simple people touched, some put to test yet others go insane for many live on drugs and 'many die of them' (as Corrado utters among some of his lines).
However, except for the plots that develop, we have one of the critical moments of PIOVRA I - Corrado Cattani begins to investigate the matters of the banks. The bankers are his target now and, naturally Mr Ravanusa. There is a lovely moment when Corrado Cattani meets Olga Camastra (Florinda Bolkan). In their conversation where she expresses the total lack of compassion to drug addicts (saying openly that it is their decision and their choice to destroy their lives), she appears to embody the world of mafia from a woman's perspective. She embodies the world in the most memorable manner: the world that may occur magnetic, strange, yet the one you can never believe. Cattani seems to figure out a lot of machanisms of the banking system and moves further, perhaps beyond his competence.
Within that context comes the world of higher rank politicians and professors, people who should represent the world of higher values, yet, from the start appear to enhance distrust and doubt. One of them is Professor Gianfranco Laudeo (Paul Guers). This plot will, of course, be developed in seasons to come. Consider his speech that is full of interesting slogans, seemingly right intention to clear the marvelous Sicily of the mafia that destroys it, and yet,,,,you do not believe him. And neither does Corrado Cattani. Rightly so.
There is a lovely little scene near the end of the episode that I find worth mentioning. All the 'greatest' people, the richest surely sit at the table in a palace--like splendid interiors. Among them is Olga Camastra, banker Ravanusa, Terrasini and, naturally, a poet, baron Platto (Francesco Laureno). Those viewers who pay careful attention remember him from a little moment when Leo de Maria tells Corrado who is who in the first episode. They talk of a new game where they will bet who is next to be captured, kidnapped, killed accidentally. They suggest guessing...among them there is a mention of Don Manfredi but, as a priest, he seems to be too respected to become a sheer victim of their scheme. Some other names are brought up...
Strangely, something unexpected, shocking and outrageous happens at the end. Will Corrado find strength and courage to deal with, so far, the most difficult test?
