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Boris: as Truffaut (but without Love)

| Corriere della Sera

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A fil di rete


Boris: come Truffaut (ma senza Amore)


In «Effetto notte» di François Truffaut si racconta di un regista che negli stabilimenti La Victorine di Nizza gira il film «Je vous présent Pamela»: è il più classico esempio di cinema che parla di cinema (un traboccante atto d'amore per il cinema), un modello con cui inevitabilmente fare i conti. «Boris» racconta la storia di una troupe televisiva intenta a girare la seconda stagione di una discutibile serie popolare di successo «Gli occhi del cuore». Una fiction che parla di fiction: ma non c'è amore, l'intento è quello parodico, prendere in giro la fiction italiana di lunga serialità, tipo «Un posto al sole», «Carabinieri», «Un medico in famiglia», mostrare quel clima cinico e «culturalmente rassegnato al brutto» con cui si confeziona il prodotto televisivo. Non solo parodia, dunque, ma anche acidità e spietatezza in «Boris», la prima fiction italiana in onda su Fox (Sky, lunedì, ore , 14 episodi). La nuova serie, prodotta da Wilder per Fox Channel Italy, è nata da un'idea di Luca Manzi e Carlo Mazzotta, è firmata da Mattia Torre, Giacomo Ciarrapico e Luca Vendruscolo, che ne è anche il regista; sigla di Elio e le Storie tese. Fra gli interpreti Antonio Catania, Alessandro Tiberi, Caterina Guzzanti, Francesco Pannofino, Carolina Crescentini e Pietro Sermonti. In «Boris» (è il nome di un pesciolino rosso portafortuna) si ride, certo, e si mettono a nudo i non pochi difetti della serialità italiana (l'idea che bisogna ancora pensare all'audience generalista, la tolleranza estetica, l'arte di arrangiarsi, la scarsa professionalità, ecc) ma ci si scontra anche contro due capisaldi della satira. Per avere efficacia la satira deve misurarsi con il bersaglio grosso: prendersela con «Un medico in famiglia» (già interpretato da Sermonti), o una serie simile, è come sparare sulla croce rossa. Uno dei difetti principali della serialità italiana, inoltre, è la mancanza assoluta di buoni sceneggiatori. «Boris», se davvero fosse così tagliente come vorrebbe essere, dovrebbe prendersela con la categoria, ridicolizzarla. E invece sorvola. In ogni modo l'esperimento regala una scossa di salutare allegria. www.corriere.it/grasso



Grasso Aldo


Pagina 53

(18 aprile 2007) - Corriere della Sera

At the edge of net


Boris: as Truffaut (but without Love)


In «Effetto notte» (La Nuit américaine) by François Truffaut is told the story of a director who in the establishments La Victorine in Nice shoots the movie «Je vous présent Pamela»: it's the most classic example of cinema that speaks about cinema (an overflowing act of love for the cinema), a model with which inevitably to deal with. «Boris» tells the story of a tv crew busy shooting the second season of a questionable popular series of success «Gli occhi del cuore» (The eyes of the heart). A drama that speaks about drama: but there isn't love, the intent is parodic, to tease the Italian drama of long seriality, such as «Un posto al sole» (A place in the sun), «Carabinieri» (Police), «Un medico in famiglia» (A Doctor in the Family - Original format: Médico de familia), to show that cynical climate and «culturally resigned to the ugly» with which is packed the television product. Not only parody, then, but also acidity and ruthlessness in «Boris», the first Italian drama airing on Fox (Sky, on Monday, at , 14 episodes). The new series, produced by Wilder for Fox Channel Italy, is born from an idea of Luca Manzi and Carlo Mazzotta, it's written by Mattia Torre, Giacomo Ciarrapico and Luca Vendruscolo, who is also the director; opening theme by Elio e le Storie tese. Among the interpreters Antonio Catania, Alessandro Tiberi, Caterina Guzzanti, Francesco Pannofino, Carolina Crescentini and Pietro Sermonti. In «Boris» (it's the name of a goldfish luck) you laugh, sure, and it's layed bare the many defects of the Italian seriality (the idea that we still have to think about the generalist audience, the aesthetics tolerance, the art of getting by, the lack of professionalism, etc.) but it also clashes against two cornerstones of satire. To be effective the satire must face the big target: blame «Un medico in famiglia» (A Doctor in the Family - Original format: Médico de familia) (already played by Sermonti), or a similar series, it's like to shoot on the Red Cross. One of the major flaws of the Italian seriality, moreover, is the total lack of good screenwriters. «Boris», if indeed was so sharp as it would be, should blame the category, ridicule it. And instead it flies over. In any case the experiment donates a shock of healthy cheerfulness. www.corriere.it/grasso



Grasso Aldo


Page 53

(April 18, 2007) - Corriere della Sera

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