1

New Series, Year LIII n.14

March 1st 2011

NEWSRAI

IL COMMISSARIO MANARA

Luca Manara is back! The new series, about the adventures of the famous

commissioner played by Guido Caprino, returns with its patented mixture

of action, suspense, comedy and drama. Twelve episodes, packed with

irony, mystery, tons of plot twists, passion and impervious murder cases,

born from an idea of Alberto Simone, and directed by Luca Ribuoli. In

prime time, starting Thursday 3rd March, on Rai 1

And so the story continues... but as always when dealing with Manara,

everything starts with a major setback in the worst possible moment in

anyone's life: during his wedding! Luca (Guido Caprino) and Lara (Roberta

Giarrusso), who have known each other since the Police Academy, haven't

always got along perfectly, but that’s how their love works. And this time

they're serious! Everything is ready: the bride, the groom, the relatives and

the priest. But when they are about to say their “I do's”, the unexpected

happens: a man enters the church, takes a few steps and falls to the ground,

dead. It's murder! The ceremony is ruined and the almost-married couple,

always devoted to their duty, put away their wedding rings and start

investigating once again.

Is this an omen? In any case, in the end Luca and Lara decide on living

together anyway.

2

But is the right thing to do after all? And so, a new chapter begins for our

crime-solving couple.

“Il Commissario Manara 2” , a Rai Fiction production, is produced by

Alberto Simone and Roberta Manfredi for the Dauphine Film Company,

and directed by Luca Ribuoli. Born from an original concept is by Alberto

Simone, with Anna Samueli and Francesca Panzarella, and story editing by

Daniele Falleri.

With Guido Caprino and Roberta Giarrusso, on Rai 1 Thursday March 3rd .

Down at the precinct, Manara's men are working hard to find clues,

evidence and witnesses to help solve the many new and difficult murder

cases. And someone new has joined them. A woman, named Marta Rivera

(Anna Safroncik). Pretty, charming, and provocative, her sharp mind and a

uncommon cleverness make her a cause for havoc between her colleagues.

Her past is shroud in mystery, and thanks to Manara's knack for getting into

dangerous matters, he won't be able to ignore the intrigue of this new entry.

And, as if that isn't enough, Manara will have deal with another

uncomfortable presence: the new superintendent Fabrizio Raimondi

(Francesco Quinn), a fascinating, bold man that will often end up in

Manara's way, and every time their roads will cross, trouble ensues.

Another new addition to the series is Serena Sardi's (Lucia Ocone) and

Augusto Toscani's (Augusto Fornari) newborn baby, who will complicate

Manara's life as much as that of his two parents, who are good friends of

Luca's.

And to complicate Manara's life even further, we have the arrival of

Tiziana (Michela Andreozzzi), Luca's exuberant sister.

3

Also to appear in the series are: Daniela Morozzi (as Ada), Jane Alexander

(as Ginevra Rosmini, the coroner), Valeria Valeri (as Aunt Caterina

Bentivoglio), Bruno Gambarotta (as Quattroni), Massimo Andrei (as Pio

Buttafuoco), Mario Tribastone (as Mario Barbagallo), Luis Moltieni (as the

hotheaded superintendent Attilio Casadio) and Isabella Adriani (as Agnese

Mais, the new, provocative, secretary).

Trivia: “Il Commissario Manara 2” was shot in 19 weeks, from May 31st to

October 23rd 2010, of which 10 weeks in Maremma and 9 in Rome, for a

total of 105 days of shooting and over 140.000 meters (around 460000 feet)

of 16mm film shot. Of these 9 months of filming in Rome, 6 were in

studios redressed to look like the “precinct” and the “superintendent’s

office” sets.

70 locations were used, both indoors and outdoors. Shooting took place

with a crew of 75 people, with 190 actors and 900 walk-on roles.

4

RAI FICTION

presents

a

RAI FICTION

production

IL COMMISSARIO

MANARA 2

DIRECTED BY LUCA RIBUOLI

produced by

Alberto Simone and Roberta Manfredi

for the DAUPHINE FILM COMPANY

CAST

CHARACTER ACTOR

Luca Manara Guido Caprino

Lara Rubino Roberta Giarrusso

5

Marta Rivera Anna Safroncik

Caterina Bentivoglio Valeria Valeri

Ginevra Rosminni Jane Alexander

Superintendant Fabrizio Raimondi

Francesco Quinnì Augusto Toscani

Augusto Fornari Serena Sardi

Lucia Ocone Ada Daniela Morozzi

Superintendant Attilio Casadio

LuisMolteniQuattroni Bruno Gambarotta

Mario Barbagallo Mario Tribastone

PioButtafuoco Massimo Andrei

AnnaritaCasadio Giulietta Revel

AgneseMais Isabelle Adriani

TizianaManara Michela Andreozzi

Attilio&TommasoCupidi Arnaldo Ninchi

ElianaSilvestri Daniela Giordano

OlgaChimento Orsetta De Rossi

ConteDanteOderelli Emanuele Salce

AlteroCorda Roberto Bisacco

6

CREW

From an idea by ALBERTO SIMONE

Directed by LUCA RIBUOLI

Original concept ALBERTO SIMONE

FRANCESCA PANZARELLA

ANNA SAMUELI

Screenplay by ALBERTO SIMONE

DANIELE FALLERI

FRANCESCA PANZARELLA

ANNA SAMUELI

ELENA BUCACCIO

STEFANO TUMMOLINI

CECILIA CALVI

ANGELO SIMONE

ROBERTA COLOMBO

Story Editor DANIELE FALLERI

Executive Producer ANTONIO DE SIMONE

Production Director NICOLA INNOCENTI

7

Director of Photography ARMANDO BUTTAFAVA

BONALLOGGI

Set Design MASSIMO VICHI

Music by PAOLO BUONVINO

Costume designer ALESSANDRA CARDINI

Sound designer ALESSANDRO ROLLA

Film Editor LILLI LOMBARDI

Assistant Executive Producer SAVERIO GUARASCIO

Rai Fiction Producers FANIA PETROCCHI

FRANCESCA TURA

8

DIRECTOR'S NOTES

“Il Commissario Manara 2” is once again set in Maremma, one of the most

beautiful provinces of Italy. This series has had the privilege of being shot

in the real locations that have inspired the show, and it's very rare that a

series like this can actually film in the same place and time as the events it

depicts.

Shooting in Maremma, a choice also approved by the production staff,

made me very excited about working on this project. I personally chose the

location of the “Bassa Maremma”, the southern part of the Maremma

area, to shoot in. Orbetello, which was the main shooting location, and

Capalbio, Magliano in Tuscany, Alberese, Talamone, Porto Ercole and

Porto St. Stefano all came together to create the scenery of the show.

The authenticity of these lands,their harsh nature and their vivid colors

immediately caught my eye. It felt like working with an untouched side of

Italy, on that hadn't been contaminated by man, and almost still felt wild.

So, I asked myself what my main character would feel, being almost

constantly immersed in these surroundings.

If Luca Manara had had to choose were to work, he would have been a

sheriff, but one who lives in New York, kind of like McCloud, from the

famous Tv Series. He loves working in the big city, but since the writers

preferred having him investigate in the countryside, Luca Manara has

become more of a sheriff figure for me, always very calculating, but moody

and a little confused (a trait that emphasizes the more ironic side of “Il

Commissario Manara 2”)

From the first day of shooting I have always pictured myself as making a

modern western, with a modern day hero, born and raised with 80's

9

American TV shows (like The Dukes of Hazzard, CHiPS and Starsky and

Hutch), comic books and videogames. But instead of the long dolly shots

used in the western genre, I preferred two steady cams, to involve the

viewer more with the action

However, I did use tracking shots to get the best out of the beautiful

scenery.

I asked the director of photography to keep the lighting authentic, with the

auburn soil of the fields, and I'm proud of the result. The magical light of

these locations is preserved, and works perfectly in contrast with the

lighting in the precinct, shot entirely in Rome.

The scenographist and the costume department have worked together

towards recreating the great beauty of the Maremma area, with special

attention to details, and continuously trying to blend the strong colors of the

locations with the houses and the people of the area.

This type of TV series, that tries to reach out to a broad amount of

audiences, tends to amalgamate different storytelling genres. So the

structure, which was organized perfectly by the authors and the

screenwriters, had to correspond to my choices in directing. I had to find a

balance between the different parts of the story,which all had contrasting

tones, since we mix murder mystery with action, comedy drama and

melodrama. It's not easy to keep each genre intact while contaminating it

with the others. But the ironic elements of the story really helped, as I used

it to bridge all the parts together. The music, which is really moving and

detailed, also helped to give unity to the final product.

In the end, I really had fun. I got to work with terrific actors, always spot

on and in character, sometimes ready to ad-lib just for the sake of

authenticity and freshness of the story.

10

“Il Commissario Manara 2” has a very contagious vibe, and can be both

funny and moving. It's a example of the caring face of Italy, that still

resides in our hearts to this day.

Luca Ribuoli

EPISODES

Manara will have to solve 12 murder cases, with his casual disregard for

the rules and his sometimes questionable investigative procedures. And this

time, Manara has a chance to show off his more physical side, with these

action packed episodes.

As always, in this season every episode begins with a dramatic turn of

events: the finding of a corpse.

Clues, testimonies, forensic analysis, and intuition will guide our characters

through each adventure to, ultimately, arresting the culprit.

Twelve, brand new cases with captivating protagonists, all with complex

and layered personalities.

And each case won't leave the characters unchanged, but will force each of

them to question their beliefs and rethink their lifestyles.

11

MATRIMONIO CON DELITTO

(A Wedding with a Murder)

story by Alberto Simone

screenplay by Alberto Simone and Daniele Falleri

The much expected wedding of commissioner Luca Manara and inspector

Lara Rubino takes place in the town's little church. But at the last second a

man breaks in, his face covered by a helmet, and falls to the ground. The

man is mortally wounded, and is a young but talented motocross rider. The

wedding is interrupted and a complex investigation into the world of

profession motocross is started.

Parallel to this, begins a difficult moment for Lara and Luca's relationship,

where they understand that maybe getting married was a rash decision,

even though their love stays unquestioned.

In the meantime, Manara's men start an investigation that will make them

uncover the darker sides of the sport: illegal street racing. The victim was,

in fact, involved in these races, having got dragged in while looking for

easy money to assure his mother a better lifestile.

Prime suspects are his main “rival” and his despotic trainer, but only

Manara's intuition will make him uncover the real killer.

The culprit is apprehended and, with the case closed, Luca and Lara opt on

simply living together.

12

L'ADDIO DI LARA

(Lara's Goodbye)

story and screenplay by

Francesca Panzarella and Anna Samueli

Luca and Lara have just started living together, but something feels wrong.

They love each other, it's true, but not everything is working out: Luca has

problems with getting adapted to this new lifestyle, and expresses this with

uncomfortable boils and headaches.

While Manara is looking for the causes, and an eventual remedy, to his

problems, an old florist is found dead. The man lived alone and had no

enemies. His closest of kin, which are his twin brother, who has recently

lost his wife, his daughter and his son-in-law, all seem flustered by what

has happened.

Luca and his men investigate what seems a very promising lead: a band of

burglars connected to a ex inmate who had recently started working for the

victim's flower shop. But another suspect could be the victim's son-in-law,

who has had an affair with a women, the man's accountant. He's a man with

no scruples, and might have killed the florist to hide his adultery. Lara, in

the meantime, receives an interesting offer from the chief superintendent: a

year-long postgraduate course in Milan. The woman is honored, but

declines, as nothing would make her leave her loved one, Luca.

After uncovering a series of secrets and jealousies between family

members, Luca manages to

catch the true culprit.

But his satisfaction for solving the case is spoiled by more intimate

problems: his relationship with Lara isn't working out.

13

He has even gone back to sleeping in the farm, at Ada's place. So the

female inspector, pushed by Luca himself, decides to favor her career and

accepts the course in Milan. Luca isn't ready for living as couple, so it's

better to separate from one another before someone's feelings get hurt.

While Lara is leaving, from the bus that has just entered the station comes a

jaw dropping brunette. She's looking for Ada's farm, and Luca doesn't

hesitate even for second and gives her a lift on his motorbike.

DELITTO TRA LE LENZUOLA

(Murder in the Bedroom)

story and screenplay by

Francesca Panzarella and Anna Samueli

Luca wakes up in Ada's farm, but not in his own bed. Instead, it's owned by

the beautiful girl he brought back to Ada's from the bus stop. But there's no

time for introductions... Manara has to run back to his ex-home, the one

where he lived with Lara. The reason: in his bed is a dead, blond-haired

woman. The victim is his landlady, and she seems dressed for some special

occasion. In the meantime, Luca is called into the superintendents office.

Casadio orders him to solve the murder quickly, because of his personal

involvement in the case. He also introduces him to Lara Rubino's

replacement. With Luca's great surprise, the new inspector is a woman. The

very same woman he spent the night with at Ada's: Marta Rivera

14

Marta immediately proves herself very competent and seems to be liked by

everyone. That is, everyone except Sardi, who is pregnant and is very

nervous about the way Toscani looks at her.

The investigation brings Luca new insight on his landlady, and will bring

him to various locations, ranging from places like his peaceful next door

neighbors' flat to the aseptic clinic run by the victim's husband, or the

peculiar pub where the landlady would hang out with some ambiguous

people.

Thanks to his intuition, Luca solves the case and finds the person behind

the murder.

Luca's friendship with Marta Rivera strengthens but, as Marta herself

states, must not go beyond that.

MISS MAREMMA

story and screenplay by

Francesca Panzarella and Anna Samueli

A beauty pageant photographer, found dead in a swimming pool, forces

commissioner Manara to investigate on the world of beauty contest and the

many sponsors, organizers and judges, many of which are fare from being

honest citizens.

15

And while this case proves to be exceptionally difficult, Manara also looks

for information on his new colleague, Marta, which is far to qualified to

work at the same lowlife provincial precinct as him. Toscani gives Luca

some clues her, but much of it is still unclear, and things get even harder

when Marta discovers that Luca is inquiring on her past.

But the rising tension is momentarily interrupted when things start looking

brighter in the mystery involving the election of Miss Maremma. Working

together, Marta and Luca manage to discard the fake clues and leads, and

find the real culprit.

In front of the superintendent Luca and Marta act as a perfect duo, each

praising the others performance, but outside Marta still acts very detached

towards Luca.

But, does it really matter? Because that very night Luca has an unexpected

visit from one of the beautiful girls from the pageant. However, the night

still has more surprises in store.

16

MONDO SOMMERSO

(Underwater World)

story by Francesca Panzarella and Anna Samueli

screenplay by Elena Bucaccio and Stefano Tummolini

This new case for Manara is about a scuba diver who is found dead in his

garage after what seems to be an accident: an exploded oxygen tank. But

immediately it becomes apparent that the man was murdered, and suspicion

falls on the man's pretty associate and on a friend of his, with which he'd

had a fight regarding a woman,

Both very plausible, but Luca smells something fishy.

Mystery still surrounds Marta Rivera, his fascinating new colleagues. Ada

finds, by chance, a letter that sheds some light on the woman's past. She's

suffered because of her love life, but is strong and determined and

courageous. And she proves that herself when she helps Sardi, whose

waters have broken, with surprising care.

In the meantime, Luca and Toscani are occupied with solving the case, and

through some “Manara style” investigating, underwater immersions and

plot twists, he brings back to light some ancient secrets and hidden truths.

Meanwhile everyone is bewitched by Sardi and Toscani's new baby, even

Marta, and we see a more sweet side of “uncle” Manara.

17

SOTTO TIRO

(Under Fire)

story by Francesca Panzarella and Anna Samueli

screenplay by Cecilia Calvi

On a dark and stormy night, a woman lies wounded and dieing right in

front of Ada's farm. Someone has shot her and ran away into the night. This

new case for Manara involves the various diary and cheese factories of

area: the victim was a dairy farmer, who had come in this part of Italy to

convince the owner of a dairy company to insert her in his list of suppliers.

Between conflicting clues and false trails the investigation crosses over

with the mysteries surrounding Marta. Luca discovers that Marta is visiting

the superintendent secretly and doesn't know why.

The matter gets more and more complicated by the minute, and only Luca

acute sixth sense can helps him understand the truth: the gunshot was

intended for Marta. The truth about her finally come out, and so Luca

discovers that she has moved to Maremma to escape from the Camorra.

But why did Marta hide this? Luca still can't trust the woman completely,

and so his “private” investigation on Marta continues.

After having caught the shooter, who was one of the guests at Ada's, a new,

charming character arrives to the precinct: Fabrizio Raimondi, transferred

here to keep an eye on Manara's work, and on the many “irregularities” of

his method.

18

ALTA SOCIETA'

(High Society)

story by Alberto Simone and Angelo Simone

screenplay by Elena Bucaccio and Stefano Tummolini

At the precinct, a severely wounded man dies right in front of Quattrone's

sentry box. The superintendent puts Manara on the case, which will bring

him to uncover the secrets and hypocrisy of the upper-class families of the

area. The case is difficult, and the presence of the new supervisor Raimondi

makes him very nervous. The victim was a rich widower, and heir to “Lady

Extra-virgin”, a very powerful and wealthy olive oil producer. Because of

that lucky wedding, a simple golf instructor like him had become a local

celebrity. Could it be that someone had helped him reach this “social

catharsis”, and now wanted his silence?

In the meantime, Luca and Marta discover that the car crash that took

“Lady Extra-virgin's” life wasn't that much of an accident after all. Luca's

sensibility and intuition help him reveal a more humane side to this

“nouveau riche” and, by breaking a couple of rules, he solves the case.

However, his fight with Raimondi is ongoing, and isn't only about Luca's

work, but also about capturing Marta's attention. Because of Luca

demeanour and his contant misbehavior, Raimondi suspends him from

active duty.

19

FUORI SERVIZIO

( Off Duty )

story by Roberta Colombo

screenplay by Elena Bucaccio and Stefano Tummolini

A terrible homicide is perpetrated in a wine cellar, while Luca is on

suspended duty.

Thanks to the help of Toscani and his other colleagues, Luca manages to

follow the case from a distance and escape from his household chores:

helping Ada in the farm and babysitting for Sardi.

Meanwhile, Lara Rubino is back for a couple of days to visit Toscani and

Sardi. An informal dinner with her shows Manara that their love for each

other hasn't changed.

After secret meetings at the ranch, phone calls to Toscani and private

conversations with Marta, Luca manages to give his support on the

investigation and solves the case, finding the killer: the daughter of the

wine cellar's owner.

With a dramatic turn of events, the woman confesses to the murder but, in

front of everyone, manages to grab Marta's gun and threatens to kill herself

or anyone who tries to arrest her.

Luca steps in and manages to disarm the girl, but a gunshot is fired and

wounds Manara.

While he lies on the floor, with Marta bent over him, he confesses his

feelings for her.

20

L'AMICA RITROVATA

(Rediscovered Friendship)

story by Alberto Simone and Angelo Simone

screenplay by Daniele Falleri and Angelo Simone

Luca's wounds aren't that severe. He has a very noticeable arm sling, which

might be uncomfortable, but gets him a lot of attention from Ada and

Marta. And to speed up the commissioner's recovery, his sister, Teresa

Manara, is coming to town.

But on the bus she was on a woman was found, murdered, and the prime

suspect... is Teresa!

Meanwhile, to the superintendent's great disappointment, Raimondi ends

the disciplinary investigation and Manara is restored to his previous

position. But since the case is about a family member of Luca's, the

superintendent Casadei decides to supersede the case himself, and warns

Luca of the trouble he'll make him go through if he meddles with the

investigation.

The investigation gives us insight on the victims past: she was a local

woman who had left when she was very young and was hoping for a warm

welcome from her two best friends.

Luca's sixth sense will make him reopen, and solve with Quattroni's help,

an old case that had been filed as an accident, and in the process Manara

finds the true killer of the woman.

21

Marta, however, is more and more confused by that confession Luca

whispered with his “dying breath”, and turns down the many woos from

Raimondi, her charming ex, who suddenly has to go back to Rome.

LA VERITA' NASCOSTA

(The Hidden Truth)

story by Alberto Simone and Angelo Simone

screenplay by Elena Bucaccio and Stefano Tummolini

A couple finds a dead house-painter lying on the street. However,

Ginevra's autopsy soon shows that this wasn't an incident, but a poisoning.

This new investigation will lead Manara towards hidden frescoes,

mysterious buyers and some so-called“art experts” who are selling fakes.

All this while Marta Rivera receives a phone call from her father, who's so

famous that everyone in the precinct knows him: he's the chief of police!

This revelation completely destroys the little trust Luca had towards Marta,

and gives way to a new series of doubts and questions about his mysterious

colleague.

And things get even worse when Raimondi returns. He has to work on an

abduction that has happened in the area. Bad news from Lara, too. She's

found a new boyfriend in Milan, and she treats the whole matter too

clumsily for Luca's taste.

The painter's case continues parallel to that of the kidnapped girl. Raimondi

manages to get him to help in the second case, but while Luca manages to

solve the first one with ease, he has less luck on the abduction.

22

After hunting down the kidnappers boat, he accidentally lets them get

away.

Back at Ada's Farm, there is quite the surprise waiting for Luca: Marta’s

room is empty, and the inspector has vanished.

UNO STRANO INCIDENTE DI CACCIA

(A Strange Hunting Accident)

story by Alberto Simone and Angelo Simone

screenplay by Cecilia Calvi

In the forest, a woman, out looking for mushrooms, finds the dead body of

a hunter. What looks like an hunting accident soon reveals itself to be a

premeditated murder, linked to poachers, gamekeepers, and boar hunting.

Luca's investigation is marked by a great number of arrivals and departures.

Luca knows that Marta has been call to testify in a very important trial, by

is surprised to learn that her replacement will be non other than Lara

Rubino. When the two reunite, it is clear that Luca is still attracted to Lara,

and the thing seems mutual.

While investigating on the hunter's murder, Luca discovers something very

important for Raimondi: the fishing boat that the men who abducted the

girl took was deliberately sunk not far from the town's coast. Raimond

takes the favor very reluctantly and warns Manara that he won’t let him

have Marta, as he wants her back and is ready to put up a fight for her.

23

After finding the hunter's killer, Luca decides on working on the abduction

of the girl. Without telling anyone, he takes a zodiac and some scuba-

diving equipment. While diving in the general area of the shipwreck, to his

great surprise he finds another scuba diver, who quickly tries to loose him.

But Manara is faster, and even after some difficulties, manages to capture

the other diver, pulling his breather of.

But he immediately recognizes the diver, as it is none other than his

colleague, Marta Rivera.

LA DONNA SENZA VOLTO

(The Faceless Woman)

story and screenplay by Cecilia Calvi

The finding of a woman corpse, her face disfigured beyond recognition,

puts Luca on a case that intertwines with the one of the kidnapped girl.

Luca manages to trace the identity of the victim, who is the manager a

company owned by the girls father. So once again Manara's and Raimondi's

roads cross and, like always, they go toe to toe.

Lara, in the meantime, is preparing to get married with her new boyfriend,

catching everyone off guard, including the priest and aunt Caterina. And

she asks Luca to be her best man!

Marta, on the other hand, has decided to give Raimondi another chance.

Between her and Luca there is only a solid friendship, now.

The investigation reveals more clues on the kidnapping of little Clarissa,

And when Luca solves the case, beating Raimondi's team to the punch,

24

everyone is relieved. The only thing left is to celebrate, with Lara's

wedding.

But like last time, someone interrupts the wedding, only that this time the

bride runs away with her prince charming: the commissioner Manara!