Word: libertini
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...named to his post in 1998 and quickly set about giving the Authority real teeth. It helps that the country's current Prime Minister, Giuliano Amato, was Tesauro's predecessor. In the past two years, the Authority has imposed more fines than in the previous eight years combined. Mario Libertini, who teaches industrial law at the University of Rome, says Amato brought tremendous prestige to the Authority, but he notes that the body took on greater force after it started to levy heavy fines. "In the early years, there was very little use of this instrument," he says...
...boarding school, providing the occasion for a predictable batch of racial wisecracks. ("I am only reluctantly conforming to federal guidelines," sniffs the headmaster to his token hire. "Shoeshine?" offers the teacher.) NBC's Pacific Station pairs a hard-boiled police detective (Robert Guillaume) with a flaky new partner (Richard Libertini), who brews herb tea and spouts New Age psychobabble. Only the two stars' professionalism keeps this from being a match made in hell...
Back from a lengthy concert tour, Claude meets his agent Norman Robbins (Albert Brooks) and listens to some gibberish about a private detective's report on his wife. Confused about the detective. Claude denies any jealous tendencies. His manservant, Giuseppe (Richard Libertini), misunderstood Claude's request "Keep an eye on her" for the Italian equivalent of "Get a private eye to follow her." With the requisite veneer of trust, Claude poo-poos the report and falls back into the arms of Daniella...
Several excellent supporting roles complete the comic balance. As his agent, Norman, Albert Brooks plays the perfect straight man for the dynamic Moore. In a riotous scene, a freshly released from jail Claude attacks Brooks in the police station. "Police, Police." Norman cries with blue suits literally everywhere. Richard Libertini as the manservant plays the clown character, forcing Moore to focus on his more diverse and definitely more interesting talents...
...with violent unpleasantness, but the volume is cranked up too high. It tends to drown out the good and far more surprising minor-key work that has gone before it. Still, the pleasure of watching good character men like Brian Keith, Charles Burning, Bernie Casey and the estimable Richard Libertini going pocketa-pocketa as Sharky's Machine warms up is not to be lightly dismissed. And neither is Reynolds' good sense of the way the sordid and the sleek coexist in Big City life. The man has a feel for the director's craft that could, some...