puntiniCAZpuntini

<< you can't judge it because it's historically unreliable: it doesn't want to be a documentary film >> Beyond the "historical" value, it's a damn "work of art" for various reasons. In theory, you should invent a story and get paid for it. He didn't invent one; he took an already existing one and even made it uglier and lighter. In theory then, you write about a true story. He didn't do that; rather, he removed the best/worst parts, creating some sort of "heroes" and placing all the blame on the sisde, cleaning up your category (judges). Nothing wrong with that. However, out of decency, avoid saying "based on a true story" because it's a giant lie. True stories sell, and De Cataldo wanted to sell. Moreover, in the book, it's stated that many things are taken from another book; in the film, it's just De Cataldo. It might be a nice movie, but as a project, it sucks blood; it's annoying.

<< the Mancini you mentioned) the Magliana still exists, even if it operates differently and with different members and leaders. >> Do you realize that saying "it still exists," even if the people, the modus operandi, and everything else is different... makes no sense? The name "Banda della Magliana" was already a journalistic and/or legal label; there was strong collaboration among various gangs, but giving them a single "name" served to organize trials and sentences like "mafia" and sell newspapers. Mancini (who goes by the nickname "l'accattone") now that he has finished serving his sentence and has seen a lot of people making money off his story, will want to earn a few bucks too. Obviously, organized crime still exists in Rome; Mancini didn't need to tell us that Mafia, Camorra, and 'Ndrangheta are still around, and maybe he even has some Roman emissaries. What this has to do with a core where everyone is either dead or in jail (except for Mancini) only he knows, and the sucker who buys the book of someone who can't know a damn thing since he has been in prison for a lifetime and being a bit of a talker, no one tells him anything. He will write a science fiction book, and it will sell, like De Cataldo. << in the 90s, with the killing of De Pedis >> That guy had been with Pippo Calò for years before he died, not the Banda della Magliana. Plus, he was from Testaccio. In fact, he was killed by someone from Magliana, Magliana Magliana.

<< a criminal association that, from the end of the '70s to the beginning of the '90s >> As an "association," they lasted just over three years. Giuseppucci was already dead after barely three, and they "argued" practically right away. De Pedis was active until '90, he and only he. The series is nicer than the film, but it remains crap because the real story is much more "film-worthy" compared to this nonsense; De Cataldo, instead of "romanticizing," took out the juiciest parts, in addition to completely eliminating the chapter on "corrupt judges." If you're going to read a book about them, then "Ragazzi di malavita" by Biancone is much better, or the one by Antonio Mancini written from prison, which I haven't read. Anyway, between Magliana and De Cataldo, the only thing they have in common is Rome; everything else is either mixed up, wrong, invented, or cut out.

Great Britain's most EXPENSIVE prisoner, and not the most Violent. It's true that the queen is a bitch and the ruler of an evil empire, but granting clemency to someone because he’s "the most violent" is too much of a bitch move even for her.

Ummagumma studio is a joke; they've admitted it several times that it wasn't something meant for release.

Manzarek and Lord are nobody, Fariselli is a bassist (I didn't know about his father), and Richard Wright is the greatest guitarist of all time.

Patrizio Fariselli on double bass was killing it.

I like Mauerbrecker.

Anyway, Machines-Jewels-Pussy threw them in heavily Dog-E Fresch, Slick Rick, and various other stuff when out west there weren't even any rappers. In the 80s, even New York was full of crap (I really don’t get the obsession with Old School, it sucks big time).