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Where's Picone? (1984)
"Mi manda Picone" (original title)

 |  Comedy  |  26 April 1985 (USA)
7.1
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Ratings: 7.1/10 from 186 users  
Reviews: 3 user

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Title: Where's Picone? (1984)

Where's Picone? (1984) on IMDb 7.1/10

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Cast

Cast overview, first billed only:
...
Salvatore Cannavacciuolo
Lina Sastri ...
Luciella
Aldo Giuffrè ...
Cocò
Clelia Rondinella ...
Teresa
Carlo Croccolo ...
Barone Armato
Gerardo Scala ...
Gennaro
Marzio Honorato ...
Micione
Armando Marra ...
Troncone
Leo Gullotta ...
Sgueglia
Mario Santella ...
Severino
Carlo Taranto ...
Gannina
Nicola Di Pinto
Remo Remotti
Italo Celoro
Antonio Allocca
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Comedy

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26 April 1985 (USA)  »

Also Known As:

Where's Picone?  »

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Did You Know?

Trivia

Italian censorship visa # 79490 delivered on 30-12-1983. See more »

Connections

Featured in Bellissimo: Immagini del cinema italiano (1985) See more »

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User Reviews

The real Naples.
7 December 2001 | by (United States) – See all my reviews

In MI MANDA PICONE ("WHERE'S PICONE?" in the U.S.) Giancarlo Giannini has one of his better roles following his work for Visconti in THE INNOCENT. Here he plays a small-time scrounger who ekes out a living as a consultant in matters of red tape at the Naples city hall. For a small fee he assists unfortunates who come for help and don't know where to turn. When a man sets himself on fire in a courtroom, supposedly out of desperation because he is unemployed, Giannini helps the wife find out what happened to the man's body. In helping this woman (played by talented first-timer Lina Sastri), he becomes involved in a series of discoveries about the dead husband's petty racketeering activities. This all leads Giannini into a Dante-esque underworld that is bizarre, fascinating, and never what it seems. The film is an insider's view on Naples. Both producer Gianni Minervini and actress Lina Sastri came from that city as did director Nanni Loy, whose classic FOUR DAYS OF NAPLES was a stunning achievement. This is the Naples of hidden streets of the "bassi", back alleys, cheap rooms, the unromanticized landscapes of the poor.


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