Original subtitles

I've been divorced for a year, and not

long ago, for the first time, I lost

all my virginity.

I don't know why.

I'm sorry.

No, enough with the work.

You're tired.

But, Your Honour...

Oh, sorry.

I vaguely remember this film because at the

time, these films, I think, were considered B

-movies.

And then, in quotation marks, it's all debatable.

First of all, the director was very, very

good.

Because I remember I made several films of

this kind, and, in short, the direction was

a bit like that, you felt action, and

then, after action, you had to come up

with everything.

Instead, Ferdi Landonballi was a real...

He'd say, stop, he'd say, no, look, a

bit less, a bit more...

He was a real school director, you could

tell he was a school director.

He was a professional, he'd made a very

long script, he'd trained as a screenwriter and

as an assistant, the films Ursus, Maciste, Totò

against Maciste, then Regina di Saba...

Until those years, there were many films, dozens

of films, that went all over the world,

except for those directors who didn't have the

luck, didn't have the chance, and they stayed

like that.

This film was shot in a train, in

some train wagons, which were in a...

I don't remember if it was Cinecittà, it

was inside the studio, and we shot it.

It was a pleasant film, the director was

very good, the acceleration was dignified, and it

was a cassette film, not an art film.

I was a semi-debutant, actually I was

a debutant because I'd made a few other

films, etc.

etc.

There was Anne Bell, who was one of

the protagonists, a very nice French actress, very

good, very good.

Then there was Annemarie Rizzoli, who was an

emerging actress, beautiful, Annemarie, then we became friends

with a wonderful body.

There was Serena Grandi, who later became a

cinema diva, and then there was Moana Puzzi,

whom I already knew, I'd met her.

I heard once an interview with Luciano Lecrescenzo,

and I said, I was one of the

first to meet Moana.

No, I think I was the first, the

very first.

When Moana arrived in Rome, I think I

was the first to meet her.

At the time, she hadn't yet become Moana

Puzzi, she hadn't become the porn diva, as

she later became.

She was a normal girl, beautiful, incredibly beautiful,

who wanted to make her mark in the

cinema, but her life, if you know what

I mean, was that one.

And then I met her again, a long

time later, a few years later, I was

having a nice evening in the Paradise of

Rimini, a beautiful place, and she was making

her mark, and she was very affectionate with

me.

Let's go back to Bomba, because I'm a

diva, I speak French very well.

I have a good memory of that period,

a bit because, of course, I was many

years younger, but cinema was still cinema, we

worked a lot, the cinemas were full, people

would go to see these films, even if,

I repeat, these went to the provinces, they

were very popular, but I was, let's say,

an emergent, I had to be careful, I

was afraid of the judges, of the crisis,

I remember, a few nights, I was even

a week without going out of the house,

because I was ashamed.

You have this touch!

Oh my God!

Yes, yes, look!

Now...

I thought worse, you know?

Look, how it suits you!

Now...

Thank you.

You're a really fascinating man.

Did you like this touch?

Did you like it?

I was 20 years old with Gloria Guida,

and the director was Ferdinando Di Leo, who

was a great, a true, pure intellectual, then

there was Leopoldo Mancelloni, and then there was

the great Caprioli, I remember this, there was

Vittorio Caprioli, an immense actor, great actor, ex

-husband of the great Franca Valeri.

You know perfectly well that they were honest

business and they went wrong.

Yes, they were honest business and they went

wrong because they were honest.

You can see that honesty is not his

field.

This is good.

And then at some point I made three

films with Steno, Steno was a great director,

but then I fell out of love because

I saw that cinema was getting worse and

worse.

I made a film with Vinella, the character

who did the radio, set with his feet,

because there was a great prejudice in the

cinema, I talked to the producer, he said,

listen Bracardi, the radio is one thing, the

cinema is another.

I said, look, I created the character, I

have to write it, let it go.

Unfortunately I had signed the contract, I went

to the lawyer and he said, Bracardi, there's

nothing you can do, you have to do

it or they'll kill you.

And the director arrived drunk at nine in

the morning on the roof, drunk with beer,

the slush of beer lasts a week.

Think about the conditions I was in.

Then, by the way, but it's not that,

it's that people didn't go to see because

I was an unknown cinematographer.

I said, put Fabrizio in charge of the

parish, there was nothing.

They went on with the word.

That's the reason I didn't do it anymore.

Then there was a contact to do Catenacci,

but then nothing was done.

I didn't do anything.

In my opinion, I wasn't appreciated for what

I could have done, what I did.

I showed on TV that things can still

be done well, invented, because I'm a creative.

I've never been used as a creative.

This hurts me a lot.

Have a good time, because you'll see four

wonderful girls.

I, as the French say, have fun, see

you later.

If the crisis continues like this, I think

I'll go...

Yes, I think I'll go to California.

Abandon Europe right now that we've done it.

Europe was born and cinema is dead.