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News 2007

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Boris, "self critical" series (that denounces its limits)

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Boris, serie "autocritica" (che denuncia i propri limiti)

Di Lord Lucas | giovedì

Il destino catodico di Boris è inesorabilmente legato al pesciolino rosso che ne fa da mascotte. Il classico animale domestico che, nonostante i buoni propositi e le premure per preservarne la longevità, è destinato ad avere vita breve. Trasformate la fiera faunistica in una conferenza stampa e il gioco di parallelismi è fatto: l'entusiasmo per vendere il prodotto e per goderne nell'immediato dei frutti è seguito in entrambi i casi dalla disillusione per l'affare sfumato, sia per i produttori che per i telespettatori.

Negli accattivanti promo Boris veniva definita una fuori serie che si fa riconoscere. E infatti non passa decisamente inosservata. E' sorprendentemente curioso - anche se non propriamente originale - vedere una fiction che irride se stessa, le leggi del proprio esistere in quanto finzione pagata, il proprio codice linguistico e narrativo.

In Boris, in quanto ad animali da set colti in tutta la loro primitiva bestialità, ce n'è per tutti i gusti, dal divo pieno di sè alla starlette svampita passando per lo stagista-zimbello di turno, completamente allo sbando in un set isterico e in preda a un insensato delirio di onnipotenza.

Questo crea ritmo, dialettica, non-sense a suo modo intriso di una sua carica sferzante e forse persino brillante. Trovare tra gli altri un insospettabile Dipollina nel calderone di citazioni e sfottò metatelevisivi strappa persino un sorriso di complicità, favorisce il consenso di un pubblico stuzzicato nella propria cultura del mezzo.

Boris nasce, dunque, come un'autocritica funzionale ad elevarsi rispetto al genere di appartenenza, grazie alla capacità di svelare le ipocrisie che si celano dietro la macchina da presa. E, proprio perchè lo sfottò è autoreferenziale, si candida da sè, in modo un po' ruffiano, al titolo di prodotto intelligente, lungimirante, di qualità.

Per quella mentalità un po' italiana e a cazzo di cane (parole non nostre, ma prese in prestito dal dissacrante dizionario della serie), va a finire che parlar male degli altri e del piatto su cui comunque si sta mangiando è sempre meglio che mettersi in discussione ed esporsi con dei propri contenuti.

Perchè, come scritto tra le righe da Dipollina, questa volta quello vero in carta e ossa, si corre il rischio che a rubarsi tutta la scena sia proprio Gli occhi del cuore 2, il prodotto di bassa lega ma pur sempre di budget ridotto che fa da cornice denigratoria durante le riprese della stagione.

Le scene sconclusionate su cui è incentrato l'intento caustico di Boris funzionano da sè come sketch ad alto tasso satirico, un po' come i trailer parodiati dalla Gialappa's o le clip fintamente promozionali di Gene Gnocchi.

Tolti questi inserti umoristici, la serie pare offrirci un'autoanalisi dei propri limiti, di quanto effettivamente scarsi debbono essere stati gli investimenti di Fox e di quanto convenga, con l'alibi dello sfottò seriale, girare tutto in una topaia e risparmiare sulla sceneggiatura (tanto prendersi gioco del più o del meno viene un po' naturale a chiunque in qualsiasi set televisivo e non c'è bisogno di un copione per questo).

Se poi considerate che a mettere alla berlina i propri colleghi sono due attori in erba come Pietro Sermonti e Carolina Crescentini, dal profilo artistico non molto diverso da quello 'pompato' dei personaggi interpretati, allora, forse, ci sarebbe poco da ostentare (la stessa Crescentini si presta di suo alla parte della cagna come potete vedere nel video in coda al post).

Prima di arrivare a parlar male degli altri bisognerebbe avere dei buoni motivi per ritenersi superiori (magari proprio un Macbeth a teatro anzichè Un Medico in famiglia con lo spirito prendo il bottino e scappa o Notte prima degli esami 2 - la vendetta del luogo comune).

Dunque, quel che manca a Boris, in certi passaggi, è proprio la credibilità, il potersi permettere la boria nei confronti della categoria, la coscienza dei propri handicap, spacciati per punti di forza di una campagna autocelebrativa che ha invaso i manifesti pubblicitari come le pagine dei giornali senza rinunciare allo spamming via blog (che è un po' il vecchio passaparola).

Giusto per non scontentare proprio tutti, in chiusura, va detto che Caterina Guzzanti e l'esordiente Alessandro Tiberi (l'ultimo arrivato che ci racconta il set dalla sua prospettiva) meritano qualcosa in più. Magari una fiction vera e fatta bene (non solo perchè sparla di quelle fatte male).

Boris, "self critical" series (that denounces its limits)

By Lord Lucas | Thursady

The TV destiny of Boris is surely tied to the goldfish that acts as mascot. The classic pet that, despite the good intentions and concerns for preserving the longevity, is destined to have short life. Transform the faunal fair in a press conference and the game of parallelisms is made: the enthusiasm to sell the product and to enjoy immediately the fruits is followed in both cases from the disillusionment for the faded deal, both for producers and for viewers.

In the appealing promos Boris was defined as a off series that makes itself known. And it definitely doesn't go unnoticed. It's surprisingly curious - even if not exactly original - to see a drama that mocks itself, the laws of its existence as paid drama, itself language and narrative code.

In Boris, as regards animals of set caught in all their primitive bestiality, there is something for all tastes, from the star full of himself to the ditzy starlet passing through the intern-laughing stock of turn, completely adrift in a hysterical set and in the grip of a foolish delirium of omnipotence.

This creates rhythm, dialectic, non-sense in its own way drenched with an its lashing charge and perhaps even brilliant. Find among the others an unsuspecting Dipollina in the cauldron of quotes and meta television teasings rips even a smile of complicity, it favors the consent of a whetted public in their culture of the medium.

Boris arises, therefore, as a functional self criticism to rise compared to the kind of belonging, through the ability to reveal the hypocrisies that lie behind the camera. And, just because the teasing is self referential, it candidates on its own, in a way a bit pander, to the title of intelligent product, forward-looking, of quality.

For that mentality a bit Italian and messily (not our words, but borrowed from the irreverent dictionary of the series), it ends up that to speak bad of the others and of the dish on which however you are eating is always better than to get in discussion and expose yourself with your own contents.

Because, as written between the lines by Dipollina, this time the real one in paper and bones, it runs the risk that the whole scene is just stealed by Gli occhi del cuore 2 (The eyes of the heart 2), the product of low quality but nevertheless of low budget that makes from denigrating frame during the shootings of the season.

The inconclusive scenes of which is focused the caustic intent of Boris work on themselves as some high rate satirical sketches, a little as the trailers parodied by Gialappa's or the falsely promotional clips by Gene Gnocchi.

Removed these humoristic inserts, the series seems to offer us a self analysis of it's own limits, of what actually poors must have been the investments of Fox and of much is convenient, with the excuse of the serial teasing, to shoot everything in a dump and to save on the script (so mocking more or less it comes a little natural to anyone in any TV set and there's no need of script for this).

If then you consider that to put to shame their colleagues are two budding actors as Pietro Sermonti and Carolina Crescentini, with the artistic profile not much different than the ones 'pumped' of the characters played, then, perhaps, there would be little to show off (the same Crescentini lends herself to the part of the bitch as you can see in the video at the end of the post).

Before to arriving to speak bad of the others it should have some good reasons to be considered superior (maybe just a Macbeth at theather instead Un Medico in famiglia with the spirit take the loot and run or (Un medico in famiglia (A Doctor in the Family - Original format: Médico de familia)) or Notte prima degli esami 2 (Night before the exams 2) - the revenge of the cliché).

So, what is missing in Boris, in certain passages, it's just the credibility, the possibility to afford the arrogance towards the category, the consciousness of their handicap, passed off as strong points of a self congratulatory campaign that has invaded the advertising posters like the pages of the newspapers without sacrificing the spamming via blog (which is a bit the old buzz).

Just not to disappoint everyone, in closing, it should be said that Caterina Guzzanti and the newcomer Alessandro Tiberi (the last member who tells us the set from his perspective) deserve something more. Maybe a real and well done drama (not just because gossips about those made bad).

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