Newsgroup: it.politica
Titolo: Solo per una cosa schifo Berlusconi

Per il modo in cui ha sgraffignato la villa  e le terre alla marchesina 
Casati Stampa. 
 
 

 Casati Stampa.
 
 
ma quando la borghesìa frega la nobiltà non scoppiano le rivoluzioni di
solito?
:-)
 
 
bogie
--
Membro del Luigino Fans Club
 
"Non ho niente contro Dio.
Sono gli iscritti al suo fan club che non sopporto."
 
 
 
 

 i beni rischiavano di deteriorarsi e perdere di valore,
 
 
 
 
Il problema era la tassa di successione ma comunque la massa ereditaria è 
stata pagata troppo poco, tra l'altro nemmeno tutta in contanti ma in azioni 
della Fin-nord, se la cocietà falliva la marchesina si ritrovava con delle 
azioni senza valore. 
 
 

 azioni senza valore.
 
Se il giudice ritardasse di pagare delle tasse potrebbe
avere qualche rogna (per modo di dire...), percio' se
svende a prezzi ridicoli e' pienamente giustificato.
Eventualmente e' un po' strano che abbia accettato delle
azioni, ma se tutto e' andato a buon fine non si puo'
contestargli niente.
Comunque cose di questo tipo avvengono tutti i giorni.
Ho gia' raccontato come io stesso ho fatto un affare
con un asta dei beni di un mio cliente.
Altro esempio, circa 30 anni fa mio padre ha saputo
di una vendita giudiziaria di una antica villa veneta
il cui proprietario era anziano e senza eredi.
Figurati che il giudice, per la stima, aveva
nominato come perito un tizio che per lavoro
sgomberava soffitte e cantine, il quale ha stimato
mobili del '700 a cifre di mobili in stile e i
quadri in base alle dimensioni.
Sfortunatamente mio padre in quel momento non aveva
liquidi e ha passato la notizia a un suo amico che,
praticamente a occhi chiusi, con un miliardo di
lire ha comprato villa arredata e terreni.
Due mesi dopo, solo vendendo alcuni mobili e quadri,
il tizio si era gia' ripagato tutta la spesa
e per anni ha ringraziato mio padre per l'affare.
Questo tanto per dire come agiscono i giudici.

 
dimo...@gmail.com
 wrote: > Il giorno mercoled� 16 aprile 2014 12:34:50 UTC+2, Antonio Santoro ha > scritto: >> Per il modo in cui ha sgraffignato la villa e le terre alla >> marchesina >> >> Casati Stampa. > > Come ho gia' avuto modo di scrivere, se questa caspita > di marchesina aveva un tutore, il responsabile e' > il giudice tutelare perch� e' solo il giudice che decide > se vendere i beni, a chi, a quanto, con che modalita'. > Il giudice puo' anche decidere a cazzo ma c'e' poco > da fare. > Se Berlusconi ha fatto un buon affare, meglio per lui. > Se la ragazza ha preso una fregatura, deve ringraziare > la magistratura e le leggi italiane. > Poi se qualcuno ipotizza che Berlusconi abbia corrotto > il giudice, dovrebbe dare anche qualche minimo indizio > di quello che dice. > Comunque di solito la spiegazione e' la piu' ovvia: > i beni rischiavano di deteriorarsi e perdere di valore, Il problema era la tassa di successione ma comunque la massa ereditaria � stata pagata troppo poco, tra l'altro nemmeno tutta in contanti ma in azioni della Fin-nord, se la cociet� falliva la marchesina si ritrovava con delle azioni senza valore.
 
AHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!!!!! Sì, c'è un Tintoretto nella villa di Arcore che stava perdendo valore. AHAHAHAHAH! Quel quadro da solo vale più di quanto il ladrone Berlusconi pagò l'intera tenuta con tutte le masserie.
 
Il tutore era uno del MSI, vecchio e forse rinco, l'azione dei due Previti, pèadre e foglio, fu mendace e il Previto protutore ( quello che avrebbe dovuto controllare le azioni del tutore) era il truffatore!
Certo il giudice è stato ingannato dalla rpesentazione di valore della proprietà,  o comprato, ma la frode l'hhanno organizzata Previti & Berlusconi, due pregiudicati.
Una frode crudele ai danni di una minorenne che aveva appena perso il apdre in circostanze tragiche e orripilanti.
L'hanno raggirata sul prezzo, l'hanno raggirata pagandola in azioni Edilnord non quotate, l'hanno aggirata non facendo il passaggio di proprietà se non sette anni dopo, l'hanno raggirata ricomprandole le azioni Edilnord a metà del loro valore.
 
Insomma truffatori abili e incalliti, veri sciacalli.
 
Oggi lo sappiamo bene: hanno succhiato il sangue a mezza Italia.
 
e


Una volta ci sono andato ad una asta fallimentare ma mi sono sentito un avvoltoio, non ci vado più.

  
 
wrote in message6qt1so$p1$
6...@hermes.iol.it
 
 
E'  divertente  sentirsi  giudicare  come  anonimo  da  un anonimo.
Vogliamo sfidarci a singolar tenzone su argomenti complessi?
Che arma preferisci?
Storia dei partiti?
Economia politica?
Politica economica?
Cromodinamica quantistica?
La teoria della realtività?
L'angiogenesi?
Filosofia della Scienza?
Linguaggi per computer?
Robotica?
Storia Moderna?
linguistica?
La lista mi sembra tremendamente corta. Ti prego di aggiungere:
-Storia del Cinema
-Mccarthismo (recentissimo!)
- QED
- Genetica (in particolare sugli omeobox, introni e telomeri)
- Teoria del caos
- Nuova economia dei rendimenti crescenti
- diritto costituzionale
- Cosmogenesi
- Spazi discreti di Schild e multidimensionali
- Chimica del carbonio
- Neurofisiologia del cervello
- Neodarwinismo
- TOC
- Cosmonautica secondo Newton e secondo Einstein
- Teoria delle probabilità
- Storia della civiltà occidentale
 
 
-25/8/99 Ricevo una trentina di e-mail al giorno da una dozzina e passa di
amici con cui si discute anche sui NG. 
 
Sono quasi tutte interessanti e alcune davvero profonde [...] Si discute di
Mecanica Quantistica, di Relatività,spazi di 
 
Schild. C'è da divertirsi!
==========================================
 
Fai leggere quello che hai scritto a uno psichiatra e fatti curare!
 
 
 
 
_______________________________________________________
Non discutere con un idiota; 
ti porta al suo livello e poi ti batte con l'esperienza

 Casati Stampa.
 
Come ho gia' avuto modo di scrivere, se questa caspita
di marchesina aveva un tutore, il responsabile e'
il giudice tutelare perché e' solo il giudice che decide
se vendere i beni, a chi, a quanto, con che modalita'.
Il giudice puo' anche decidere a cazzo ma c'e' poco
da fare.
Se Berlusconi ha fatto un buon affare, meglio per lui.
Se la ragazza ha preso una fregatura, deve ringraziare
la magistratura e le leggi italiane.
Poi se qualcuno ipotizza che Berlusconi abbia corrotto
il giudice, dovrebbe dare anche qualche minimo indizio
di quello che dice.
Comunque di solito la spiegazione e' la piu' ovvia:
i beni rischiavano di deteriorarsi e perdere di valore,
servivano urgentemente liquidi per il mantenimento
della ragazza, il giudice ha venduto tutto al primo che
si e' presentato. Amen.

 cociet� falliva la marchesina si ritrovava con delle azioni senza valore.
 
AHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!!!!! Sì, c'è un Tintoretto nella villa di 
Arcore che stava perdendo valore. AHAHAHAHAH! Quel quadro da solo vale più 
di quanto il ladrone Berlusconi pagò l'intera tenuta con tutte le masserie.
 
---
 
Esagerato ahahahahahah Si vede che non vai alle aste di Sothebys o 
Crhristies dove quei quadri li puoi comprare anche tu sempre che tu non sia 
il solito pezzente ahahahahahahah 
 

 
 
"ClaPos"  ha scritto nel messaggio
news:tj9uk95rravhhknic...@4ax.com...
 
On Wed, 16 Apr 2014 16:11:47 -0700 (PDT), 
east...@gmail.com
 wrote:
 
Perchč trent'anni fa ti ha messo alla porta della Fininvest lasciandoti con
il
culo rosso in terra a sputare bile.
 
Sei un volgare derelitto mentecatto paranoico maniaco fissato e esaltato piů
sboccato di uno scaricatore di porto.
 
---
 
Buon segno ahahahhaahahh 
 

Ciao Ernesto!! So great to get this interview with you! Can you please elaborate a bit on how it all started for you?
All began with a meeting with Peppo Sacchi, the founder  of TeleBiella.  He was shooting a film in 16 mm. "COWBOY STORY" then in 1954 won the award for the film the most festive spectacular at Montecatini Festival.  In just one night, walking among snows of Biella's winter, he told me a lot of things about cinema.
-You were one of the most prolific writers in Italy in the 60's and 70's. How fast did you write these scripts most of the time? Where did your inspiration come from? 
I was used to work at night, almost ever alone.  I spent more or less one month for a script.  I the script was a thriller I started with some murder and a lot of characters, then were the characters  to tell me who had been the murdered. ;-). Of course when I wrote scripts for Sergio Leone of for some important director thing went in a different way.
-You made one of your first movies, "Amanto del Vampiro" for Renato Polselli. Any memories of this director or opinion of his movies?
The right title is "L'Amante del Vampiro".  I wrote the script with Renato Polselli, sitting al fresco in a coffee bar in Roma, August 1959, 42 degrees. Then I was the assistant of Renato. Shooting this moving was very funny: the complete disorganization brought every day to comic incidents. Renato was a medium director but a bad screenwiter.
-You also worked on "La frusta e il corpo" in your early years which I think is one of Mario Bava's best movies! It's gothic horror/melodrama but also with a great mystery and a powerful twist. Do you have any memories of working with Mario Bava, did you visit his sets while filming was taking place, etc... ?
I remember Mario Bava, hi was a genius as photographer and special effects, but I've never been on the set. 
I was not used to go to the sets because I had no time for this. Tim Lucas wrote a wonderful big book in colors about the great Mario Bava, titled" ALL THE COLORS OF DARK" like the title of one of my scripts.
-"La frusta e il corpo" also had this sadomasochistic theme which re-appears in a lot of your later movies like "Lo Strano Vizio della Signora Wardh", etc... Was this personal interest or purely exploitative element?
The last thing you wrote.  I thought more interesting   the relationship between victims and perpetrators if the bond was not just the violence  ending in it self.
-Some of the most memorable entries in the gothic horror genre were often from you... Did you enjoy writing stories in this genre? 
Not particularly, but when you write a successful film producers want another ten equal.
Can you say a few words about the following movies and your relationship with the directors maybe? 
-Riccardo Freda's "L'orribile segreto del Dr. Hichcock" (Was this title/character's name your idea?)
-Antonio Margheriti's "I lunghi capelli della morte"
-Camillo Mastrocinque's "La cripta e l'incubo"
Riccardo Freda  was a very smart man.  He filmed  "L'orribile segreto del Dr. Hichcock"  in two weeks, with three cameras, which resumed at the same time different scenes, such as a chess champion playing a lot more games on the chessboard. He asked me  the permission to tear a dozen pages from the script, the ones that explained the mystery of the film. I told him "Of course, yes, but niobody will understand anything!"  "indeed! this is beautiful" answered.  and he was right.
Antonio Margheriti was a mine good friend, one of the most able directors to use little daily things to show alien worlds or what he wanted.  Last month his son Edoardo realized a good artistic movie "IL DISORDINE DEL CUORE".
Camillo Mastrocinque was too old fashion to shoot horror movies.  I had few contacts with him.
-Your first movie as director (as well as producer), is the seminal giallo, "Libido" which came years before the big giallo boom. Why start your directing career with a giallo? Was doing a film in the thriller genre a reply to a public demand back then or was it more a gamble? Were you at all influenced by Bava's "Sei Donne per l'Assassino" or "La ragazza che sapeva troppo"? 
No influence. I married an actress, Mara Maryl. We made a deal between us:  I'  direct just movies with her as a main character, and she recited just in movies that I was the director. Wonderful deal for a long marriage, but not for our careers. So, when Luciano Martino and Mino Loy were arguing about if it was better to come from  the screenwriting or from movie technique , I proposed a bet:  I was a screenwriter, I could write a little movie and direct it, to prove if was right Luciano or Mino...
This way I wrote LIBIDO and Mara Maryl was a main character.  the male main character was Giancarlo Giannini , in his debut.  The movie cost 26million of liras ( today 13.000 euros) and grossed more then  400 million of liras. Luciano Martino decided immediately to start with some other giallos. I wrote  "IL DOLCE CORPO DI DEBORAH" and then "COSI' DOLCE, COSI' PERVERSA".
-You've had a long working relationship with Luciano Martino and Sergio Martino. Can you say a few words about these two brothers and in your opinion why your association was so successful?
Both big friends. Unfortunately Luciano died one year ago. I wrote as ghostwriter for two years for Ugo Guerra, and I met Luciano. Then he married  Wandisa Guida, one of the mine mates at CSC. I started to write with him and then I wrote for him 30 movies, or more. Sergio began working as a producer, then I teach him something about screenwriting and the he become a very good director.
-You often cite "Les Diaboliques" as an influence for some of your gialli. It seems especially obvious in "Il dolce corpo di Deborah", "Cosi Dolce, Cosi Perversa" and "Lo Strano Vizio della Signora Wardh" or "Il tuo Vizio...". Post-Argento, you used some "serial killer" elements, but usually more as a red-herring or subplot... ("Lo Strano Vizio...", "Il Tuo Vizio...") Why is this kind of a conspiracy thriller plot more interesting to you? 
I was inspired by "Les Diaboliques" by Clouzot when I wrote LIBIDO. I needed a good plot but non too much expensive, with just 4 characters. I like surprise ending. I don't like the style of Argento's movies because it's illogical. For me a good giallo must not be cheated.
You often seem very critical of Dario Argento way of writing... Do you have a formula for writing giallo/mystery story that really works for you? Even your westerns usually had mystery plots and surprising twists ("Il Grande Duello", etc...) Any tips of on how to handle a twist ending correctly?
 
As I said before, often I began a giallo without knowing who was  the murderer.  At some point you have to pull the wires and conclude. So, how would had been a detective, I looked at what they have done and have been told and I tried to find out a logical killer. I hate directors or screenwriter that cheat the audience with illogical solutions. A good giallo  must allow the closer viewer to guess who is the bad guy or the bad woman.
-I noticed you often seem to decline Hitchcock being an influence in your giallo work although the plot twist in "La coda dello scorpione" for example reminds me a lot of Psycho. Where the main character focus switches in the middle of the film. I think this movie is still extremely effective to this day! Any comments or memories about it? 
Sorry, I don't remember  much about that movie but the twist of George Hilton. I liked to surprise the audience but sowing logical clues in the story.
-"Tutti i colori del buio" is very peculiar... Some crazy "satanic" twists and a fantastic element that is unusual compared to your other gialli. Any memories on working on this particular story? It seems a bit more Polanski-like. Was it an influence? 
Influence? I don't know.  That movie wanted to prove the non-existence of magic and bring the facts to the logic of explanations. Many have realized the opposite. I do not know why. If I may, the same thing happened with LA GRANDE BELLEZZA that Sorrentino shows to be no more in Rome and instead many have realized that Rome is the great beauty ...
-A lot of the giallo movies you've worked on were with Edwige Fenech. What's your opinion of this actress? 
A beautiful woman who likes too much take showers....
Were there some other actors/actresses you thought portrayed your scripts characters better than others and did you get the chance to meet many of them? Are there any who left a big impression on you?
Of course Henry Fonda, a the myth of my youth. Then Sophia Loren and Marcello Mastroianni and, of course my wife Mara Maryl. Very smart Giancarlo Giannini too. LIBIDO has been his first experience.
I liked a lot Alan Collins ( a good friend of mine, his true name was Luciano Pigozzi) and  the charming liar Tony Quinn.
Your films often contained a significant amount of sex and/or nudity. Was this something you added from personal tastes or was it simply a selling point during this time?
Usually this kind of scenes  were expanded by the directors.
-"I corpi presentano tracce di violenza carnale" a.k.a. "Torso" has one of the most breath-taking twist in a movie... It made me just out of my seat in excitement the first time I watched! Do you remember how the writing took place for this film? Is it important to structure a thriller movie around the plot twist?
In those times I was used to write a script every month. I had to invent stories and stories. I don't remember anything special in TORSO and in the other movies. Od course in giallos you have to put suspense and surprise.
-In the 70's, your giallo movies are noticeable by their extremely long titles. Such as "Perché quelle strane gocce di sangue sul corpo di Jennifer?" or "Il tuo vizio è una stanza chiusa e solo io ne ho la chiave". Where did this trend come from? Was it the producer's idea or your own? It seems the polar opposite approach to your first giallo, "Libido"!
LIBIDO was mine, the other ones were coming from producers or distributors.
-Was Sergio Martino supposed to direct "Perché quelle strane gocce di sangue sul corpo di Jennifer?" at first? This movie seemed like it would been fitting perfectly with his other movies...
Probably yes, but the directors were fairly interchangeable. Carnimeo was my classmate at CSC, good director who has had less opportunity than it deserved.
-In terms of crime, you wrote the story for probably Umberto Lenzi's best movie, "Milano Odia"... The character of Giulio Sacchi seems less one-dimensional than in a lot of Lenzi's other movies. I know Tomas Milian added a lot of his own dialogue and quirks to the role. How much of the character is yours and how much is Milian's?
Tomas Milias has been great! He doesn't  add lines to the script but  the movie is still enjoyable just for his performance. Two weeks ago the Luciano Martino's daughters  were thinking to make a remake of "MILANO ODIA"  , but   the genre cinema in Italy is dead.
-Another Lenzi movie you did was "Il cinico, l'infame, il violento", Merli and Milian share very little screentime together. Were you asked to write the movie in any special way so they didn't have to meet?
No. I think I wrote really few scenes in that movie.
I once tried to get an interview with Umberto Lenzi but he declined to say one word about you or your work (good or bad!). I thought that was kind of weird because one of the main things people like to know in interviews is how it was to work with a certain person. Did you have a good relationship with him when working on films? And what do you think of his movies? (please skip this question if you think it is too personal!)
Even Umberto Lenzi has been my classmate at CSC.  I know that he's sure I hate him but I do not know why. It's just funny. Maybe because somewhere I said that I preferred MILANO TREMA  by Sergio Martino at MILANO ODIA. Umberto has a bad temper and we never worked together. He has shot some of my scripts and nothing else.
-You also wrote "Milano Trema" for Sergio Martino again. You didn't write many more police movies besides those. What are your feelings about this genre?
"Milano TREMA" was born in a different way. Martin told me to invent the story that I wanted. My script was much more political but was censored by the distributor. And it has been the only film I was paid on percentages on receipts and one of the times that I have gained the most.
-I need to mention your spaghetti western work too. Your most known ones are "Il mio nome è Nessuno" (working with Sergio Leone) and "I giorni dell'ira". Any other westerns you worked on that you feel are underrated?
 
There is one: UNA RAGIONE PER VIVERE, E UNA PER MORIRE - it's a movie( 1972) directed by my close friend  Tonino Valerii,  acted by James Coburn, Bud Spencer  and  Telly Savalas.
Did you ever feel that any of your scripts were ruined by a film or completely disappointed by a final product? And if any which one/ones?
Many, but one was a real murder: THE GENIUS. The other one was STRADIVARI.
Is there one genre you loved working in more than another? What do you think are some of your own best works put onto film?
LA PUPA DEL GANGSTER, LA BATTAGLIA DI EL ALAMEIN, LIBIDO, IL MIO NOME  E' NESSUNO, I GIORNI DELL'IRA,  MILANO ODIA, MILANO TREMA,  LA FRUSTA E IL CORPO.
Of course there are great films from all eras including today but in my opinion the most imaginative and excellent went from the silent era and then into the 70's and early 80's. Why do you think cinema declined so badly after the 80s and still is declining today, is it simply the lack of a good writer or is a mix of things?  And I'd really like to know if there are any "cult" films you dislike that most people think are brilliant?
The killer of Italian commercial cinema has been SILVIO BERLUSONI.   He stole the national TV  frequencies corrupting Craxi (our premier in that time) and invaded the air with dozens free  movies a week.
I can't thank you enough for taking the time to answer these questions. Is there anything else you would like to mention? Are you still currently writing anything?
I just ended with my son Sciltian the Tarantelli's story, a great economist killed 30 years ago by the Red Brigades.
Regards.
 
Ernesto

Ciao Ernesto!!
 
IL MAESTRO DEL CINEMA MONNEZZA, MAESTRO DI VITA E TUTORE DELLA MORALE
=====================================================================
 
Degenerato che filma la moglie nuda e mentre viene trombata in serie e 
si invaghisce di uno dei coatti che l'hanno trombata e si fa una nottata 
di passione con un boro nella camera matrimoniale mentre il marito 
passeggia nella cucina al piano sottostante.
 
Solo un pervertito degenerato fa filmacci di famiglia di questo genere 
con la moglie firmataria del manifesto per i froci:
 
http://mondoqueer.tripod.com/ComunicatiStampa/5865CODS01.html
 
 
eMule>Qualsiasi>cerca:  Cinema monnezza
 
e si trova il tuo cinema monezza e le foto delle indecenti scene con 
tua moglie nuda e quelle mentre veniva trombata in serie da altri 
bori come te.
 
Bella roba per chi come te é privo di statura morale e ardisce 
esibirsi come tutore della morale e Maestro di vita .... 
 
Del resto un Cul Cul Clan che cosa altro avrebbe potuto concepire?
 
La misura del tuo insuccesso che ti fa schiattare di invidia e bile é 
data dalle tue dichiarazioni dei redditi da morto di fame:
 
eMule>Qualsiasi>cerca: Cinema monnezza 
 
Ci sono anche le dichiarazione dei redditi
Agenzia entrate Roma 2005.zip - si trova anche come .zipx e .txt
 
Buffone paranoico maniaco megalomane fallito mendace tuttologo 
millantatore:
 
ERNESTO:-25/8/99 Mmmmiliardi amico mio, mmmmiliardi! Guadagnati, 
sempre dopo mezzanotte,con la sola arte dello scrivere! Pensa, una 
macchinetta da scrivere, un nastruccio e una risma di extra strong, un
pacchetto di sigarette, un wisketto e un bella ragazza (poi ella 
moglie...) e la risma bianca mmmmmliardi diventava, mmmmiliardi. Alla 
faccia di quei kkkkolleoni senza alcun talento che si sono lasciati 
schiavizzare sotto padrone per 8 o più ore al giorno per tutta la vita,
minchia!
 
-27/4/2002 Solo gli STRONZI o i ricattati dai padroni lavorano.
 
-17/6/2001 Pensa come sono stato bravo: ho venduto copioni spazzatura 
anche per UN MILIARDO l'uno! Non male eh? E dovresti vedere i soldi 
che mi dava Sergio Leone affinchè gli scrivessi spazzatura per i film che 
produceva.... una favola! E.
 
[Bravo Kompagno !  Miliardi, valanghe di titoli in borsa, obbligazioni 
al 10-1/8%, vacanze abituali nella proprietà alle Hawaii, Yacht a due 
alberi, ecc. ecc. e casa acquistata dichiarando un prezzo inferiore 
falso per 'risparmiare' imposte di registro e catastali.  
 
Che dire ?  ]
 
-8/9/2000 Una sola notazione: a volte,  per quello che scrivo, produttori
di film mi danno un milione a pagina. A te quanto danno?
 
Vecchio delirante malato di mente, fatti curare.


il solito pezzente ahahahahahahah 
 
Il vecchio cialtrone mentecatto Dotto' Tarocco deve risparmiare per comprarsi i
pannoloni.
