(by Giorgio Gosetti) (ANSA) – ROME, AUGUST 17 – There are actors who model their role on themselves and others, who with chameleon facial expressions can dive into all sorts of clothes, taking on shapes, tics and even a very distant physiognomy from your own. Sergio Castellitto, one of the most popular actors and directors of his generation, celebrates his first 70th birthday on August 18, marked by a brilliant self-taught youth, a beautiful career that began in 1981 with two opposing films (Three Brothers by Francesco Rosi and Carcerato) Alfonso Brescia), just when he achieved his first successes in the theater with masters such as Aldo Trionfo and Enzo Musii, a happy artistic and sentimental partnership with Margaret Mazzantini, the satisfaction of his son Pietro today competes for the post of director Mostra from Venice . Athletic, level-headed, theatrical, brooding, iridescent, consistent – all the adjectives that fit him confirm a professional career in which he was never content with simple success to surprise a wider audience every time. Whereas on the big screen he returned above all to himself through masterful acting, such as his “Non ti movere” (2004), which won the David di Donatello Award for Best Actor, on television he often gave himself up to the most virtuoso transformism, with from the sharp profile of Fausto Coppi to the hairstyle of Padre Pio, from the tormented face of the Drake Ferrari to the tunic of Don Milani, from the seriousness of Aldo Moro to the uniform of General Dalla Chiesa. Between big and small screens, he now registers his name in hundreds of titles, with great satisfaction even far beyond Italy, from the American invasion of The Chronicles of Narnia (2008), in which he wore Miraz royal robes, to repeated appearances in French auteur cinema. Here, Luc Besson opens it in The Great Blue (1988) and Jacques Rivette amplifies it since Who Knows? (2000) and then nine years later A Matter of Viewpoint. (PEN).
