Coliandro, the most disorganised, stubborn, opportunist, generous, unintentionally funny and obstinately incorruptible of all TV heroes, is back.
We see him tackling criminals and bad guys of all kinds in six new adventures.
In spite of his many obvious (and all too human) faults, it is impossible not to love him.
His superiors don’t think much of Coliandro, he’s normally relegated to office duties, and he ends up in the stories starring him partly swept along by events and partly by mistake. So he always finds himself caught up in affairs that are too big for him to handle, in which he inevitably meets a woman he falls in love with and who, just as inevitably, will soon turn him down.
This is Inspector Coliandro, a police series with a strong vein of comedy, which offers a spectacular mix of the realistic world of the criminal bands and organisations of the Italy of today and the timeless image world of action films.
We are very happy.
If only because of the fun Giampiero Rigosi and I have when we write the Coliandro screenplays, virtually acting out every scene, which would be enough for us even if no-one watched them.
If we then add the creativity brought to the enterprise by Giampaolo Morelli and the other members of the team, by the Manetti Bros. and by the group around them, we would still be delighted, even if the viewer figures were in decimal points.
But then if we add that lots and lots of people do watch our series, and they don’t just watch it, they love it, they live it with a dedication verging on the obsessive (reflected in phenomena ranging from photos of “Coliandromania” on the Facebook page, showing even the unlikeliest people dressed up and posting as Coliandro, to graffiti in rough areas of town, on walls carrying the kind graffiti you would expect in such places, saying “the only cop we want is Coliandro!”, and children who don’t want Spiderman on their birthday cakes but demand Our Hero with his jacket and specs) – well, now we really are very, very happy.
It may be because of the character’s contradictory, complex, critical appeal, which calls forth expressions of sincere affection such as the letter addressed to him (not to Morelli or to us, but to Coliandro himself) by the police trade union. It may be because of the real problems our stories, with their blend of comedy and thriller, tell, which sometimes unfortunately turn out to be all too true, with trials such as the “Aemilia” corruption probe. It may be because we were amongst the first, and at a time when this was considered daring, to take the liberty of breaking with the rather prim and proper style still found today in some Italian TV drama. Or it may be because we talk about Bologna, a magical city which in a survey identified Coliandro as its most famous stage or film character, even better known than Commedia dell’Arte’s archetypal Dottor Balanzone; as I said, all this makes us very happy indeed.
Coliandro: GIAMPAOLO MORELLI
Gamberini: PAOLO SASSANELLI
Gargiulo: GIUSEPPE SOLERI
Longhi: VERONIKA LOGAN
De Zan: ALESSANDRO ROSSI
Bertaccini: CATERINA SILVA
Buffarini: BENEDETTA CIMATTI
Paffoni: LUISELLA NOTARI
Borromini: MAX BRUNO
Vigile: PATRIZIO ROVERSI
Vigilessa: SYUSY BLANDY
Hamid: MUHAMMED TAHIR MAHMOOD
Mamma Gargiulo: ANGELA COTTI