L'Italo-Americano

THURSDAY, APRIL 18, 2024 www.italoamericano.org 28 L'Italo-Americano F irstly in New York for the Bafta and SAG Awards pre- s e n t a t i o n s , a n d then in Los Ange- les for the official premiere, Italian actor Maurizio Lom- bardi is touring the United States to promote "Ripley," t h e n e w N e t f l i x s e r i e s i n which he stars as Detective Pietro Ravini, alongside inter- nationally renowned actors such as Andrew Scott and Dakota Fanning. Filmed in Rome, Florence, Venice, and the Amalfi Coast, as well as at Cinecittà, which Lombardi describes as "the non-place where everything happens," t h e e i g h t - e p i s o d e s e r i e s debuted on Netflix on April 4th. Written and directed by Steven Zaillian (Oscar win- ner for Schindler's List), the miniseries is based on Patricia Highsmith's successful novel and is the television adapta- tion of the 1999 film featuring Matt Damon, Jude Law, and Gwyneth Paltrow. The plot remains largely the same: in 1 9 6 0 s N e w Y o r k , t h e c o n artist Tom Ripley is hired by wealthy industrialist Herbert Greenleaf to bring home his s o n D i c k i e , w h o h a s b e e n wandering in Italy and from whom he has lost contact. Here, among others, Ripley also encounters Inspector Pietro Ravani, played by Flo- rentine actor Maurizio Lom- bardi, whom we from L'Ita- lo-Americano met in Los Angeles at the Hollywood set- ting of the Roosevelt Hotel. Maurizio, you've been in the USA for a few days. What impressions have you formed of the coun- try? I find the United States remarkable; they possess a pioneering spirit that I deeply admire, reminiscent of a time when Italy was more entre- preneurial and bold. They still embrace this spirit. Moreover, like myself, they are passion- ate about engines, cars, and motorcycles. I truly consider Americans an extraordinary people. And your thoughts on Los Angeles, the city of cinema? N e w Y o r k c h a r m e d m e with its architectural absurdi- ty and the imposing stature of its buildings. It possesses a flair comparable to the major European cities. Los Angeles may not surprise me, but I greatly enjoy it because it brings together many of the b e a u t i f u l s e a s i d e t o w n s f o u n d i n o u r c o u n t r y . I t reminds me of places like the C i n q u e T e r r e , V i a r e g g i o , Forte dei Marmi, and even Livorno. I also see the appeal o f t h e F r e n c h c o a s t s , o f places like Biarritz, and in the H o l l y w o o d H i l l s , I a m reminded of the beauty of Fiesole, towering above Flo- rence. Have you visited any iconic film-related sites? Foreigners visit our coun- t r y a n d a r e o f t e n o v e r - whelmed by the beauty, like t h e S t e n d h a l S y n d r o m e , when they see our art. I expe- rienced the reverse—a sort of S t e n d h a l s y n d r o m e i n response to what? The build- ing where my favorite film, Blade Runner, was shot, as w e l l a s t h e s t r e e t f r o m Michael Mann's Heat and the hotel from Pretty Woman. Being in front of these sites is like being in front of a mas- terpiece, because ultimately, t h e r e i s n o d i f f e r e n c e between a great painting and a great film. Speaking about your portrayal of Pietro Ravi- ni in "Ripley," how did you prepare for the role? Preparing for Pietro Ravi- ni was quite an immersive process. I had to immerse myself in the physicality of a man from the 1950s, focusing on the elegance and nuances of that era. I found myself d r a w n t o t h e f a b r i c s , t h e o b j e c t s — t h e d e t a i l s t h a t define the character's world. I conducted extensive photo- graphic research, particularly exploring the atmosphere of the big bars in Milan during the 1940s and '50s, where men would leisurely read newspapers and indulge in a cigarette, often with a white sock peeking out from their dark shoes. One image, in particular, of a striking man at Milan Cathedral, served as inspiration for Pietro Ravini's demeanor and presence. As the preparation progressed, Steven Zaillian, the screen- writer, intervened with addi- tional insights. He suggested keeping the mustache, styling the hair a certain way, and aiming for a slight thinness in the face, all to authentical- ly capture the essence of the character and the era. We also meticulously worked on t h e p o r t r a y a l o f R a v i n i ' s accessories—the unfiltered cigarettes, the notebook, the P a r k e r p e n — e a c h o b j e c t becoming a symbol that res- onates with the character. These subtle sounds and ges- tures, such as the rustling of pages or the click of a pen, became integral elements in conveying Ravini's persona on screen. Speaking of Zaillain, how did he depict Italy? Working with Zaillain was a revelation for me. For the first time, I collaborated with a d i r e c t o r w h o p o r t r a y e d Italy with an extraordinary level of refinement and preci- sion, surpassing even my own understanding of the country's peculiarities, even if I did experience Sicily at the beginning of the 1970s. In the series, Sicily is depicted with remarkable dryness and refinement, with its crucifix- es on the walls and quirky vases, and an attention to detail that even native Ital- ians might find challenging to recreate. It was truly fasci- nating to witness an Ameri- can director with such an i n t i m a t e a n d m e t i c u l o u s grasp of our country, display- i n g a p r o f o u n d c u l t u r a l appreciation and executing it with surgical precision. T h i s i s n ' t y o u r f i r s t venture onto the interna- tional stage, is it? No, fortunately, I've had the privilege of being part of international productions before. I portrayed Cardinal Mario Assente in Paolo Sor- rentino's The Young Pope a n d i t s s e q u e l , T h e N e w Pope. This year, I'll also be on the small screen with Citadel: Diana, the inaugural interna- t i o n a l i n s t a l l m e n t o f a n action series produced by the Russo brothers for Prime Video. Additionally, I'll be involved in M. Il Figlio del S e c o l o , a n a d a p t a t i o n o f Antonio Scurati's debut novel a b o u t B e n i t o M u s s o l i n i , helmed by English director Joe Wright, where I portray Emilio De Bono. Y o u ' r e i n v o l v e d i n both theater and film- m a k i n g . W h a t d i f f e r - e n c e s d o y o u n o t i c e between the two? I t ' s l i k e t h e d i f f e r e n c e between painting and pho- tography, or between film and photography. Both the- ater and film are indispens- able forms of artistic expres- s i o n , e a c h w i t h i t s o w n distinct perspective. Theater r e q u i r e s p h y s i c a l i t y a n d endurance, as you're often onstage for hours, directly engaging with the audience. On the other hand, film can b e m o r e m e t i c u l o u s a n d occasionally tedious, requir- ing precise timing and execu- tion of scenes before moving o n . H o w e v e r , I f i n d b o t h mediums invaluable. Person- ally, I relish the immediate feedback from a live audience in the theater—their reac- tions shape the performance. In contrast, in cinema, you o f t e n g a u g e y o u r p e r f o r - m a n c e t h r o u g h y o u r o w n internal reactions, as the filming process can be more solitary. The premiere of "Rip- l e y " t o o k p l a c e a t t h e iconic Egyptian Theater i n L o s A n g e l e s . W h a t attire did you opt for? I chose a tuxedo, the epito- me of timeless elegance. Are you a fan of classic style? Absolutely. When worn with confidence, classic attire can exude a modern flair. For me, there's nothing quite like pairing a sleek Armani suit with a pair of Gucci loafers— it's a combination that never fails to impress. SILVIA NITTOLI Lombardi in an episode of Ripley (Photo Credit: Philippe Antonello/Netflix) Maurizio Lombardi promotes "Ripley" Netflix series during US tour LOS ANGELES ITALIAN COMMUNITY

• Cover