1992-Episodes Three, Four, Seven and Eight-some notes and dialogue on first watching with Review of 1992 Part TWO at the end. In Italian with English subtitles. Minor Spoilers only. On in the UK on Sky Arts 1 and Sky Arts 1 HD Tuesday nights @ 10pm. (Please see 5th April 2015 for first few episodes and Part ONE Review of 1992)

The Italian series:


TV Description: (brackets are mine)
“The events of Tagentopoli (the Clean Hands anti-corruption investigation) are told through the experiences of six people”.


Episode notes for episodes:Three, Four, Seven and Eight Only.

Episode Three

Some notes and dialogue on first watching.

So one more Policeman is a major character-the one with a red beard and moustache.

Pietro Batollie comes to Parliament.
Parliament is beautiful.

Veronika gets some bad news about Domenica Inn (the TV show)
 Mainghini to Veronika:
“You’ll have to leave my home/ casa”..

Police Chief/ Di Pietro:
Milan, opera, the Loccoro..”

The Police Chief and Luca Pastore get cheered and clapped by the crowd.

I just knew that Leonardo Notte would charm his daughter Viola’s teacher.

Leonardo meets his neighbour.

Leonardo Notte & Veronika Castello:
“Do we play happy families”
“Happy families are only good for selling cookies!”

Luca Pastore and the next main character who didn’t figure earlier, the Policeman, meet.

Leonardo Notte, Veronika and Veronika’s sister-the journalist.
Veronika tells her story to Viola.  which is sad,  Then we realise that Veronika is in love with Leonardo.  But not he with her.  I reckon.

I recognised “casa” for house.

A dream: 
“My love, I want to be with you..”
Leonardo is dreaming.

Leonardo gets it completely wrong with Veronika.  Or does he.

I quite like Mainghini as a character.
“No, I don’t dump my friends”
to His lawyer.

Di Pietro is the name of the Police Chief.  He is called the Chief Prosecutor.


Episode Four.

Some notes and dialogue on first watching.

Woman at a funeral:
“For the Mafia, there is a chance for you, I forgive you, but you must kneel…(she weeps)

And Pietro Botelli gets allotted the job of Minster of Culture.

So Leonardo Notte has some really fabulous suits.

“Hagakire..” says Leonardo’s boss.
“The story of the Samurai, I read it..”

Bibi Mainghini to Luca Pastore:
“I was wrong, yours isn’t anger, envy, yours is obsession!”

It’s funny to see Berlusconi looking all youthful. Ish.  With just half a bald pate.  And an unusual sideways comb-over.

So I am not going to write episode by episode.  1992 doesn’t really lend itself to that style.  If you take your eye off the ball for a minute or so you miss important political machinations and dialogue. or rather subtitles.  Not that I’m hugely interested in the political side of things in dramas. I’m not.  I am more into the story of the people.

Right, back to the action after the break..
Oh. No.  I kind of liked him too..

So this is interesting.  Luc Pastore looks upwards,
Why?  Why?  you silly man.

On the morgue floor, we see there two far (away) puddles.  They are yellow.  They can only mean one thing.

And Botelli meets his officially cultured neighbour/ Minister.
(’cause he’s playing opera-see)
The older statesman to Botelli:
“Is it desguised or disguised?”
and Botelli is taken under the wing of the older statesman/ Minister.

Witness to Luca Pastore:
“Are you not feeling well?”
Luca is not feeling well.

Bibi Mainghini:
“Vanity, vanity, all is vanity!”

Leonardo Notte to two girls:
“My life can be summed up in three word: illusion, delusion, collusion..”

Farewell, Renato Ameresei..this time the floor of the morgue is all red.  All is shining red.


Nb.  I didn’t do notes for Episodes Five or Six.


Episode Seven.

Some notes and dialogue on first watching,

So Veronika has the coolest sunglasses yet.  Ever.
Then Bibi Mainghini sports a pair equal to those.

 Leonardo Notte and his daughter, Viola..
“When Orpheus descends to Hades to save Eurycides..”
he looks back at her,
“We all have to descend into our own hell,”
“at least once..!”

Venthone, Switzerland.  Cool.

Ah.  Pietro.

So Bibi Mainghini puts down the hard word on a business meeting and gets out a joint.

Veronika to Leonardo:
“I fell in love with your, or was just about to..”

“Silvio Berlusconi!”


Episode eight.

Some notes and dialogue on first watching.

“Uno prodozione SKY”

Leonardo Da Notte.  On the stage in an auditorium.
“One, two, three, testing”
“You know hat Goethe said before dying?”
“Give me more light”.

So as in the spirit of the dramatic convention of Columbo’s wife, Il Duce or Mussolini , in Inspector de Luca and so on-We never see the person.  So we never see Berlusconi, only on TV.

In the case of Berlusconi, we only see the back of his head and fleeting side shots of his face.  But we do see him giving a speech on TV.  Nice touch I felt.

Leonardo & Bibi Mainghini.
“Three months ago you were a stoner, now you look like Sally Spectra”!
“Maybe you see peoples secret potential and make it blossom”
“basically, you’re like fertiliser”!

Venturi is the name of the Policeman .


 End of episode notes for 1992 for this series.


Review of 1992 Part TWO-up to and including Episode Eight.

So 1992 is a grower.  It has cool and unusual opening credits.  With a nineties twist.  Don’t ask me to describe the exact nature of that twist.  I don’t know for sure.  Other than possibly the over-dramatic yet enjoyable (visually) smashing of the numerals 1992.  Spontaneously. No visible hammer or anything.

Spontaneously self-smashing gigantic gleaming ice crystal numerals seems very 90’s in feel. It’s like, 90’s special effects. Much like loud plaintively sung rock ballads at the end of a movie.  Power ballads those were called.  Don’t know why other than they powered up high.  This was meant to enforce the idea or rather reinforce the idea of the happy endings.

Then you would be forced to watch (well if you were still there) fetching vignettes of the actors, individually, waving and smiling and sometimes wedding each other.  In a furtherance of unspoken or unseen happy action from the film.  Ah.  All is well.  That was back when they had happy endings in films.  Before heads in boxes.
But I digress.

Yes, 1992 is a grower.  The drama increases in atmosphere and depth over time.  Each individual character is delineated quite well.  although the main focus of dramatic interest and time is Leonardo Notte.

Possibly Luca Pastore could be said to share equal screen time.  It may seem that Leonardo Notte is the central character just because he is so charismatic and charming and seems to take up more of the story to us.  The viewer.

In contrast, Luca Pastore, with his own interesting story, is quiet and mostly glum. he barely speaks.  Unless it is necessary.  either at work in his obsessive quest or with his lady love.  Or is she?  Bibi Mainghini is a gruff, husky voiced terse speaking beautiful now head of Mainghini enterprises.
 (as Bibi said:
 “A nom/ name” to remain the same.

The only negative for me so far in 1992 is the slightly dull political  side.  For me anyway. Yes- I know- we get to see Berlusconi.  Or do we?

Plus there is the regrettably chopped up nature of the viewing experience due to the shortness of the dramatic excerpts.  Interrupted by multiple ads/ advertisements. I will try the drama on a record version to see if anything improves.

So Luca Pastore, his boss Di Pietro (The Chief Prosecutor) and the smiling ginger-bearded Policeman Venturi are all central characters.  With Luca being one of the six main characters listed in the preview.

Then there is Veronika Costello and the lovely Petro Botelli.  Veronika being so beautiful that men simply stop and stare sometimes, forgetting themselves.  Botelli is irascible, passionate and fair.

I dunno.  I do like 1992.  But it is a tiny bit dull.  it drags.  A little.  I guess you could say that there is something for everyone in 1992.  Romance, love.  Politics and political shenanigans.  Dodgy deals. The Mafia.  Mass shootings.  If that’s a phrase.

Then there is the mysterious advertising agency. Which is already in the business of spinning good PR/ Public Relations for the big businessmen.

Then there are the industrialists.  Which may be just another name for business man.  Or a higher up version/ the owner.  Like Mainghini.  Like Bibi.  Some of the industrialists maybe Mafia.  I am not sure.  Or they maybe just connected with the Mafia.  It’s really not clear.

Other than everybody is probably connected in some way or another. Possibly I haven’t been paying full attention to that part of 1992.   Finding that the Police investigation seemed to lose it’s thread of cogent storyline.

The story and the investigation lost impetus.  But then the investigation really does get halted. Mainly because people are threatened and die.  Except for, so far, the brave and indefatigable Di Pietro, Chief Prosecutor.

Then there is the driven and bitter Luca Pastore.  Another character wonderfully played.  In fact all the main characters are likeable and sympathetic.  Yet flawed.  Well some of them. It makes no matter.  We still like them.

Of all the six main characters: Veronika, Botelli, Di Pietro, Bibi, Leonardo, we probably know least about Venturi, the Policeman. With the ginger beard.  Except that he is often to be observed whispering in important looking ears, in a private location.

Yes, we know very little so far anyway about Venturi and his motivation or background.  Still, 1992 ain’t over yet at the time of writing.

I am enjoying all the stories of the individual characters plus their occasional interaction/ intersection in terms of their story-lines colliding with each other.  People from one separate storyline suddenly barge in, apparently dramatically uninvited.  Into another character’s storyline.  Me I like that happening in a drama.

However at the moment I find the separate stories of the main characters to be insufficiently dealt with. In terms of time and attention.  Plus depth.  We chop and change too quickly sometimes: from one story to another.

Possibly: this gradual and teasing meeting of story-lines as described will slowly coalesce as one and gather strength and pace.

Certainly the actual chopping up of the series into often far to often Ad breaks increases this feeling of fragmentation in the watching of the drama.

This effect of a puncturing of the pace of the drama is caused by the truncation of the Advertisements.  The cogency of the story is curtailed.  As well as 1992’s design that coincides with those breaks.  Oh well.

The effect is pretty much the same whether watched in catch-up or live so to speak.  You still have to forward through Ads.  Repeatedly.  It’s a shame really although 1992 certainly holds its own as a drama and manages to transcend these mechanical complications inherent in it’s deliverance.

The watching of 1992 just requires a little then a little more, patience.  I think we may be rewarded. In time.


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