A look into the eyes of a lonely man, discovering an era, a piece of history and culture of the city of Naples and an extraordinary personal history. The story of Pino Mauro, King of the Sceneggiata, which filled daily, with three replicas a day, the theatres, and sold millions of records, and crowded the box offices with his films, of series b, we will say today, whose popularity had crossed the ocean and had conquered the U.S. and which suffers a resounding setback for a prank of that destiny which he has defied all his life. One time, that of the sixties and seventies, when the city of Naples proliferated with metropolitan culture and subcultures: among these, among the popular classes, the Sceneggiata was very widespread in the theaters of all South Italy.
Pino Mauro, who had been appreciated as a singer of classical Neapolitan music, became the “King” of the Sceneggiata and began to elaborate the genre of the song of “giacca”, such a popular street song, that drawing inspiration from a news story arranged the Neapolitan song in the “western” manner of Morricone. It was the beginning of new contaminations that will lead, on the one hand, to “neomelodic” music, and on the other to the various kinds of street music, from rap and suburbs. The fame of Pino Mauro in the genre was only reached by Mario merola, but his forced exit from the scene has relegated him to the pantheon of the stars of memory, an icon whose traces have been lost. Yet in his third age, Master Mauro is living a second artistic life.