Naples, today- Paco, a conservatory graduate, is a
refined but unemployed pianist. His mother finds an influence
peddler to get him into the police. His total ineptitude
relegates him to a judiciary warehouse. Then Commissioner
Cammarota, a crime-fighting bulldog, orders him to go
undercover and join the band of Lollo Love, a neo-melodic
singer hired to perform at the wedding of Antonietta
Stornaienco, daughter of the boss of Somma Vesuviana.
Rumour has it that O’Fantasma, the faceless killer Cammarota
has been chasing for years, will be at the wedding.
Paco is really in trouble: risking his life on the frontline, playing
music he hates, dressed like a jerk. It will be the turning point
of his life.
This film is based on an idea that
Giampaolo Morelli described to us some years ago. We
submitted it to Luciano Martino who believed in it from the
first moment we talked to him about it, convincing us that
this was the film we had to make after L’Arrivo di Wang and
Paura 3D. We are proud t have directed the last film of the
man whom we consider to be the greatest Italian producer of
all time, as well as our teacher. A meeting and a partnership
that lasted only a few years, but that for us meant everything
and gave us what we needed, and what no one before him
had been able to give us: a direction. With Song’e Napule we
return to the genre that gave us so much satisfaction: detective
comedy. We wanted to illustrate Naples and the unique
phenomenon of the neo-melodic singers, famous in their own
city yet total unknowns only a few miles away. As we made
the film we fell in love with the city and had the presumption
to go back and narrate it in a way that has died: the centre of
the city, its beauty and uniqueness, as Nanni Loy and Ettore
Scola once did.