• Cinema The return of Mira Sorvino after 20 years of ostracism for resisting Harvey Weinstein

  • Mira Sorvino confesses that she was "raped" during a date

A party in a garden a plan of uncles: meat in a barbecue, ironic talk and beer.

Paul Cicero

is the center of gravity of the appointment.

He is a big man, on the verge of obesity, with rough manners but with a good voice and a good verb.

He wears bursting loafers and short-sleeved shirts, brushes his hair back, and could be a nice guy;

A father, an older brother, a reference.

Henry Hill,

on the other hand, is a brash, presumptuous kid, a guest at the grown-up table who needs to be straightened out.

Cicero takes him aside, questions him, talks to him, slaps him without having to emphasize that gesture, he's solid.

He could be a moral figure if we forget that Paul Cicero is a mobster.

Paul Sorvino,

the actor who played Cicero in

One of Ours

(Martin Scorsese)

created a mold for the cinema with that character.

Tony Soprano

would be unimaginable without Cicero.

This Monday, Sorvino

died at the age of 83

with his piece of guaranteed immortality in the history of cinema.

Sorvino's career is not only made of organized crime, although the New York actor seemed born for the genre.

Political cinema was also among his specialties.

The actor was an unforgettable

Henry Kissinger

in the

Richard Nixon

biopic that

Oliver Stone

filmed in 1995. Before, in 1982, he had a role in

Reds,

Warren Beatty

's adaptation

of 10 days that shook the world, the historical chronicle of the Revolution

John Reed

's Soviet .

Beatty was one of Sorvino's most trusted collaborators (they made four films together) and was also his photographic negative.

If Beatty was born to be a hero, handsome and with luminous features, Sorvino seemed drawn for darkness and crime, for violence on the verge of exploding.

Among his joint works is

Dick Tracy,

a twist of the gangster film genre in which the charm was in the hyper-idealized aesthetic, in the patent-leather representation of the lead years of the American mafia.

Instead of playing a hyper-realistic and almost vulgar mobster like Scorsese's, Sorvino was a fairytale villain in Dick Tracy, a character taken from a classic comic.

In fact, the actor's career has been so extensive (there are 170 references on his resume) that an example of any character model can be found, just like its opposite.

Sorvino was a mobster but he was also a policeman.

In the 1990s, for example, he renewed his popularity by playing a sheriff on the series

Law & Order.

And at the end of that time he returned to the country of his family (his father came from

Naples)

to play the patriarch

Capulet

in

Romeo + Juliet,

that shakespeare pop starring

Leonardo Di Caprio

and

Claire Danes.

Even more surprising is to think that the American actor's career began in the 1960s on

Broadway,

participating in musicals such as

Bajour.

On stage, Sorvino found his first fame in

That championship season,

a drama in which the glory of basketball hid unspeakable secrets.

Years later, Sorvino would co-star in a film version of the same story alongside

Robert Mitchum

and

Martin Sheen.

Along the way, Sorvino became something like his characters.

When he learned that his daughter,

the Oscar winner Mira Sorvino,

was the victim of producer

Harvey Weinstein

in his practices of harassment and punishment, Paul Sorvino said that he would be waiting for him when he left prison.

Like Cicero, brutal and moral at the same time.

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