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La meglio gioventù
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The Best of Youth (2003) More at IMDbPro »La meglio gioventù (original title)

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The Best of Youth -- As Italy explodes in an era of social unrest, a single ill-fated incident sends the lives of equally idealistic brothers, Nicola and Matteo, careening in opposite directions.

Overview

User Rating:
8.5/10   14,134 votes »
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MOVIEmeter: ?
Down 38% in popularity this week. See why on IMDbPro.
Writers:
Sandro Petraglia (writer)
Stefano Rulli (writer)
Contact:
View company contact information for The Best of Youth on IMDbPro.
Release Date:
22 June 2003 (Italy) See more »
Genre:
Tagline:
The possibilities were endless...
Plot:
An Italian epic that follows the lives of two brothers, from the 1960s to the 2000s. Full summary » | Add synopsis »
Plot Keywords:
Awards:
26 wins & 17 nominations See more »
User Reviews:
It does Italian cinema proud See more (89 total) »

Cast

  (in credits order)

Luigi Lo Cascio ... Nicola Carati

Alessio Boni ... Matteo Carati

Sonia Bergamasco ... Giulia Monfalco

Maya Sansa ... Mirella Utano

Fabrizio Gifuni ... Carlo Tommasi

Jasmine Trinca ... Giorgia Esposti

Riccardo Scamarcio ... Andrea Utano
Andrea Tidona ... Angelo Carati

Valentina Carnelutti ... Francesca Carati
Camilla Filippi ... Sara Carati

Lidia Vitale ... Giovanna Carati
Claudio Gioè ... Vitale Micavi
Paolo Bonanni ... Luigino
Giovanni Scifoni ... Berto
Stefano Abbati ... Spacciatore
Roberto Accornero ... Giudice
Fabio Camilli ... Detenuto
Nila Carnelutti ... Francesca Carati a 8 anni
Greta Cavuoti ... Sara Carati a 8 anni
Domenico Centamore ... Angente Enzo
Gaspare Cucinella ... Viddanù
Walter Da Pozzo ... Mario
Krum De Nicola ... Brigo
Paolo De Vita ... Don Vito
Francesco La Macchia ... Andrea Utano a 6 anni
Maurizio Di Carmine ... Terrorista
Giovanni Martorana ... Magrebino
Mimmo Mignemi ... Saro
Michele Melega ... Professore di lettere
Pippo Montalbano ... Commissario
Sara Pavoncello ... Sara Carati a 5 anni
Marcello Prayer ... Sottotenente
Antonello Puglisi ... Sacerdote
Patrizia Punzo ... Gallerista
Nicola Vigilante ... Infermiere
Dario Veca ... Macellaio
Mario Schiano ... Professore di medicina
Thérèse Vaddem ... Thérèse

Giuseppe Battiston ... Celebrante
Emilia Marra ... Dottoressa
Valeria Colangelo ... Elena
Laura Di Mariano ... Paola
Massimiliano Petrucci ... Fabio
Claudia Fiorentini ... Cati
Giorgio Crisafi ... Dottore
Paolo Emilio Alvarez de Castro ... Uomo in Jaguar
Rosa Canova ... Moglie di Saro
Aldo Mansi ... Barista di Ravenna
Ferdinando Martin ... Barista alla stazione
Angelo Giuliano ... Poliziotto alla stazione
Enzo Marcelli ... Sentinella
Aldo Innocenti ... Soldato
Stefano Biscotti ... Soldato
Sjur Midttun ... Viaggiatore
Rasmus Bu ... Viaggiatore
Mohammed Essaje ... Viaggiatore
Cinzia Cartei ... Viaggiatrice
Sergio Risso ... Maggiordomo
Assia Pallavicino ... Sorella Riccobaldi
Lavinia Matteucci ... Sorella Riccobaldi
Danilo Maria Valli ... Marino
Fabio Roscillo ... Felice
Alberto Pozzo ... Rosario
Maddalena Recino ... Anita
Massimo Del Sette ... Manilo
Letterio Micalizzi ... Giovanbattista
Roberto Faglia ... Fulgenzio
Giovanni Tormen ... Paziente
Zefferino Stefanic ... Avvocato d'accusa
Giusto Lo Piparo ... Avvocato della difesa
Marcella Mariotti ... Assistente del giudice
Manuela Massarenti ... Direttrice dell'ospedale psichiatrico
Alessandro Trotta ... Poliziotto di Palermo
Angelica Zanardi ... Cugina
Juana Jiménez ... Lolita
Giuseppe Gandini ... Amministratore locale
Maria Grazia Bon ... Portiera
Mattia Osti ... Poliziotto
Raffaele D'Orsi ... Poliziotto
Giuseppe Mascia ... Studente
Fabio Rossi ... Orlando
Leonardo Antiri ... Orlando da ragazzo
Alessio Brilli ... Ludovico
Giovanni Giordana ... Michele Tommasi
Fausto Maria Sciarappa ... Dottore
Kristine M. Opheim ... Ermione
Angelo Costabile ... Poliziotto alla stazione
rest of cast listed alphabetically:
Adriana Asti ... Adriana Carati
Matthew McGrain ... Lily-Livered Fanny
Emilio Fede ... Himself (archive footage) (uncredited)
Fabrizio Giannini ... (uncredited)
Loredana Mazzella ... (uncredited)

Directed by
Marco Tullio Giordana 
 
Writing credits
(in alphabetical order)
Sandro Petraglia  writer
Stefano Rulli  writer

Produced by
Angelo Barbagallo .... producer
Gianfranco Barbagallo .... line producer
Donatella Botti .... producer
Alessandro Calosci .... executive producer
 
Cinematography by
Roberto Forza 
 
Film Editing by
Roberto Missiroli 
 
Casting by
Barbara Melega (casting by)
 
Production Design by
Franco Ceraolo 
 
Art Direction by
Jörg Baumgarten 
Tony Reading (supervising art director)
 
Set Decoration by
Penny Crawford 
Paola Riviello 
 
Costume Design by
Elisabetta Montaldo 
 
Makeup Department
Alessandra Alessandroni .... assistant hair stylist
Sara Del Zoppo .... assistant makeup artist
Enrico Iacoponi .... makeup artist
Francesca Latella .... assistant hair stylist
Samankta Mura .... hair stylist
 
Production Management
Gianfranco Barbagallo .... production supervisor
Alessio Jim Della Valle .... assistant unit manager
Marco Olivieri .... unit production manager
Ezio Orita .... production manager
Massimiliano Pisechi .... unit manager
Chrystelle Robin .... unit manager
 
Second Unit Director or Assistant Director
Federico Ferrario .... second assistant director
Barbara Melega .... first assistant director
Federico Nuti .... assistant director: Florence
Federico Olivetti .... assistant director
Otello Ottavi .... third assistant director
Sara Patti .... assistant director: Turin
 
Art Department
Cristiana Amendola .... assistant art director
Sabrina Coppolecchia .... assistant art director
Roberto De Angelis .... first assistant production designer
Luisa Iemma .... assistant art director
Glauco Isidori .... painter
Erminio Lauri .... digital artist
Chrystelle Robin .... production coordinator
Matteo Sani .... assistant art director
 
Sound Department
Jacopo Anzellotti .... sound effects editor
Luca Anzellotti .... sound effects editor
Massimo Anzellotti .... foley artist
Marta Billingsley .... sound editor
Fulgenzio Ceccon .... sound
Paolo Segat .... sound re-recording mixer
Decio Trani .... boom operator
 
Special Effects by
Pasquale Catalano .... special effects
Massimo Ciaraglia .... special effects technician
Fabio Traversari .... special effects supervisor
 
Visual Effects by
Alessandro Pelliccia .... colorist
 
Stunts
Paolo Antonini .... stunts
Massimiliano Bianchi .... stunt rigger
Jaqueline Freda .... stunts (as Jacqueline Freda)
Riccardo Mioni .... stunts
Stefano Maria Mioni .... stunt coordinator
Alessandro Novelli .... stunts
Emiliano Novelli .... stunts
Franco Maria Salamon .... stunt supervisor
 
Camera and Electrical Department
Gianni Aldi .... Steadicam operator
Federico Angelucci .... first assistant camera
Piero Bosi .... key grip
Vincenzo Carpineta .... camera operator
Claudio D'Achille .... grip
Fabio D'Achille .... grip
Fabio De Meis .... electrician
Claudio Gallicchio .... electrician
Alberto Grassi .... generator operator
Giuseppe Ieva .... grip
Daniele Massaccesi .... steadicam operator
Matteo Ortolani .... second assistant camera
Roberto Ridolfi .... gaffer
Alberto Rogante .... electrician
Luciano Teolis .... assistant camera
 
Casting Department
Luigi Palmulli .... extras casting
 
Costume and Wardrobe Department
Alessandra Carta .... assistant costumes
Pamela Fontinovo .... second assistant costumes
Silvana Mancini .... seamstress
Nadia Salvatore .... seamstress
 
Editorial Department
Paolo Petrucci .... assistant editor
Ivan Tozzi .... on-line editor
 
Other crew
Tatiana Basili .... assistant extras coordinator
Stefano Benappi .... location manager
Adriano Ceccolini .... production assistant
Bruno Di Bartolomei .... production accountant
Cinzia Liberati .... script supervisor
Alessandro Luzi .... cashier
Alfredo Miserocchi .... production assistant
Simone Rosso .... production assistant: Torino
 
Thanks
Elena Zingali .... thanks
 

Production CompaniesDistributorsSpecial Effects

Additional Details

Also Known As:
"La meglio gioventù" - Italy (original title)
See more »
MPAA:
Rated R for language and brief nudity (part 2)
Runtime:
383 min | Canada:366 min (Montréal World Film Festival) | France:358 min (Cannes Film Festival) | USA:366 min (theatrical version) | Argentina:180 min
Country:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:13 | Australia:M | Hong Kong:IIA | Ireland:15 | Italy:T | Singapore:NC-16 | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | USA:R (part 1) | USA:R (part 2)
Filming Locations:
Company:

Did You Know?

Trivia:
Originally developed as a miniseries for television. It was then released in cinemas in June 2003 as two three-hour films after the uncut six-hour version had been screened to great acclaim at the Cannes Film Festival. Because of the films's success, it was eventually shown on Italian TV as originally intended, in 4 parts, in November 2003.See more »
Goofs:
Continuity: In the scene where Nicola and Matteo meet again in Nicola's office after Giorgia has been found, they lay their right hand on each others shoulder. Nicola's hand is transferred from Matteo's one shoulder to the other in the close-up.See more »
Quotes:
Sara Carati, adult:What should I do?
Nicola Carati:I don't know, it depends on how strong you feel... Are you happy now?
Sara Carati, adult:Of course I am!
Nicola Carati:Then, it's time to be generous
See more »
Movie Connections:
References Modern Times (1936)See more »
Soundtrack:
House of the Rising SunSee more »

FAQ

This FAQ is empty. Add the first question.
152 out of 177 people found the following review useful.
It does Italian cinema proud, 3 July 2003
Author: Gabriella from Rome, Italy

At last: an achievement contemporary Italian cinema can be proud of! Not that the odd decent flick doesn't grace our screens these days; however, when compared to Cinecitta's hey-day between the late 40s and 70s, today's production is scant. The problem essentially is the dire lack of funding and scarce distribution. Most Italian films are either shown in hardly any movie theatres - if any at all - while American blockbusters clog the screens of Italian cinemas up and down the peninsula for months (cliched 1960s terminology such as "cultural imperialism" springs to mind!). It's a familiar story... Then a couple of years ago, Gabriele Muccino's meaningless movies started being hailed as the harbingers of a renaissance. That's when I started to despair for this country's ailing contemporary cultural heritage! Muccino's "L'ultimo bacio" (to be avoided like the plague!) and his latest, "Ricordati di me", are prime examples of Berlusconi-era cinema: pretty-to-look-at but pointless, riddled with stoopid cliches, pre-packed, pre-digested conclusions, conservative, moralistic and misogynistic undertones that pass for brave portrayals of modern Italy (yeah right), hollow cynicism and shallow "portraits" of middle-class malaise that are merely a smug, self-referential celebration of this milieu (Muccino's own). Fortunately, despite his popularity in recent years, an increasing number of intelligent Italians share my views. And by the look of the Roman movie theatres heaving with people when I went to see La meglio gioventu' last week, they also agree that Marco Tullio Giordana's last effort is worth the effort of sitting in a cinema for almost 6 hours! The movie is a mini-series (it will be shown by RAI television in autumn 2003). It was shown at this year's Cannes in the Un Certain Regard section. Now it's shown in two separate, 3-hour screenings in selected movie-theatres around Italy. This may sound like too much to bear even for the most passionate of cinema-goers. But I cannot stress enough how successful the experiment is and how effortless (and pleasant!) the experience. There are almost as many opportunites to develop plot and characters as in a novel, and one leaves the cinema with a feeling of having gotten to know and grown to love the characters over a period of time. The story begins in Rome in 1966 and ends in the present day. Watching it is a wonderful way of getting a feel for Italian history in the last 40 years, though without ever feeling like you're watching a dense, academic "historic" film. Though it encompasses many historic events and nods towards innumerable themes, it is first and foremost about people. An Italian family in Rome - the Carati family - a Roman father, Milanese mother, two brothers and two sisters - are the hub around which other characters rotate. The two Carati brothers, Nicola (played sympathetically by Luigi Lo Cascio, also seen in Giordana's previous film, "I cento passi") and Matteo (the dishy Alessio Boni), are in some ways the main characters. But the spotlight often shines for long spells onto other characters - namely the lovely "psychopath" Giorgia, Red Brigade terrorist Giulia, as well as Mirella, the feisty and beautiful Sicilian photographer (Matteo's almost-love interest!). Then there are innumerable other memorable portraits, all introducing a social theme (such as Nicola's factory-worker friend, made redundant during Fiat's crisis at the start of the 80s, or Matteo's colleague, the working-class policeman, who ends up on a wheelchair after a beating at a political demonstration in the 70s). However, this is never done heavy-handedly and all characters are first and foremost human beings who can be appreciated as individuals transcending their backgrounds or political leanings. What I appreciated most in this movie was the lack of stereotyping. In heavily-politicised Italy, this comes as a breath of fresh air. Thus before being a policeman, Matteo is convincingly portrayed as a cultured and fiercely intelligent man whose emotional repression and desperate need for rules are a tragic consequence of an ancient wound. And the Teutonic-looking Giulia, the terrorist, is multi-faceted and has a believable psychological background which explains (but neither justifies or condemns) her choices. This woman, who abandons her young daughter and loving partner to embrace a life of political extremism, is never portrayed as a villain (this is innovative, considering how harshly "bad" mothers and wives are normally represented in movies!). All actors, with the exception of the wooden and heavy-featured Valentina Carnelutti (she plays the Carati's youngest daughter, Francesca), are excellent. Humorous and deeply touching moments perfectly counterbalance one another in a setting that flits from Rome to Norway to Florence (during the 1966 flood) to Turin (during the student demonstrations of the late 60s and 70s), then to Milan, Sicily and the Tuscan countryside in the present day. Then Norway again, in a beautiful and poetic closing of the circle. Early on in the film, young mental patient Giorgia, whom Matteo is charged with taking for walks while he's still a student, introduces the theme of psychiatry and its evolution from the 60s to the present day. Franco Basaglia, the revolutionary psychiatrist whose humane and futuristic ideas ultimately shut down Italian asylums in 1979, is mentioned later on as Nicola's role-model but the movie is never preachy or self-righteous about this. Again, this complex theme is not imposed upon the viewer in a dry and academic manner, but is interwoven into a compelling and moving subplot which involves both brothers and brings about decisive changes in both their lives. Similarly, the traumatic Mafia killing of the Sicilian judge Giovanni Falcone (early 90s) is evoked as it deserves, but again, never crowds the plot. There is far more that could be said about La meglio gioventu'! But I will give no more away, just a warm recommendation to go and see this accomplished piece of movie-making. The fact it won a Cannes prize makes me more hopeful of its release abroad, especially in the UK, where Italian cinema is direly underrepresented (with the exception of movies that show Italy in a quaint or picturesque light).

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