Once Franco founded Aetos in 1968 or thereabouts, he seems to have distanced himself from B.R.C.
or perhaps resigned altogether.
Once he left, there were a few movies that seemed to be good, but overall the quality took a nose-dive.
Is that a coincidence?
I think not.
Franco seems to have been a creative producer rather than a bureaucrat,
and his sensibilities were translated into his movies, no matter who the writers or directors were.
Vivo per la tua morte (A Long Ride from Hell), 1968
Okay, now to counter the countless claims
that researching movies is a piece of cake, kindergarten stuff, requiring no intellectual agility whatsoever,
that movie researchers are wasting time on pointless nonsense,
while important people do more difficult and useful things like sales and marketing and real-estate development,
I wish to demonstrate, definitively, how difficult it is just to do something so seemingly simple
as getting a roster of a producers film titles.
Below we have a review from Daily Variety,
and we can see that not even the folks at Variety
knew who was behind B.R.C. Produzione S.r.l.
If not even the industry insiders know, how on earth can the rest of us figure these things out?
And yet here the rest of us are, figuring it out 40 and 50 years later.
As far as I know, this next movie, The Woman, was never made:
The Variety journalist was confused.
Yes, Manolo Bolognini and Franco Rossellini had partnered on Teorema,
but for Aetos, not B.R.C.
Note also what the above article does not state.
Manolo and Mauro Bolognini are mentioned as the movers and shakers of the upcoming B.R.C. productions.
Franco Rossellini is mentioned only in the past tense.
There is no mention at all of Sergio Corbucci, the C of B.R.C., who had resigned two years earlier.
The text seems to imply that Franco Rossellini still had some involvement in B.R.C.,
especially given that it was once again B.R.C. rather than B.B.C., but he did not have any active involvement.
At most he probably participated only in the annual meetings of the board of directors,
and maybe earned small royalties on the subsequent B.R.C productions.
See how confusing this research gets?
And dont expect the tenured professors who write learned tomes on cinema history
to know the first thing about any of this.
There is no custodian of this knowledge of studios and production houses
and the business side and financial side and investment side of cinema,
and nobody apart from me seems to care.
The IMDb didnt tag Bubù as a B.R.C. coproduction, but we can see that it was!
Cinque figli di cane (Bootleggers), 1969
Also known as América rugiente.
This one doesnt seem to be available on video anywhere,
though apparently there was a video floating around (recorded off of television?),
as we can see from
the web page devoted to this movie.
Il pistolero dellAve Maria (Forgotten Pistolero), 1969
Carambola, 1974 Note that this is a coproduction of B.R.C. with Aetos.
How many learned film scholars with PhDs who write detailed analyses of the deeper symbolic meanings of auteurist films
would care that this is a coproduction between between B.R.C. and Aetos?
But this is vitally important to know.
Manolo Bolognini was a high-ranking executive in Aetos while he still co-owned B.R.C. Produzione.
Aetos employed a number of the same people that B.R.C. employed, though perhaps not simultaneously.
Both companies would soon be dissolved.
In sum, is this an indication that Franco Rossellini was still involved somehow in B.R.C.?
Probably not, but who knows?