Between controversies and clashes, in the end he is proving to be the most solid and tenacious club owner
Nanni Moretti in “Il caimano” makes Silvio Orlando’s character say that “Aurelio De Laurentiis hasn’t thought about cinema since he got Napoli”, forgetting that football is natural cinema. De Laurentiis thinks about it, but differently. This is why Napoli’s Scudetto can be an Oscar, even if he would say: “I prefer the Champions League final”, being able to choose, downgrading the Scudetto to David di Donatello. His intelligence is volatile, he likes to look at things from above by moving – in recent years he has spent his time between cinema and football and between Naples and Los Angeles managing to never be an American president -; a man of levity, his rage then gives way to irony, a Tognazzi, afflicted by feverish polytheism: he falls in love with everything even if he idolizes only himself and his family; he flirts with the myth but then deserts it.
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