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News 2008

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Boris tells the resignation to the ugly on TV

| EuropaQuotidiano.it

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Redazione

Boris narra la rassegnazione al brutto in tv

La Teledipendente



Teoria numero 1

Per capire dove va la fiction italiana questi sono giorni importanti, e vi terremo aggiornati. Teoria numero 1: se si vuole capire dove va la fiction italiana, seguite Ninni Bruschetta, bravo caratterista che si divide tra Taodue e Boris. Ha recitato per Valsecchi, produttore-autore della Taodue, anche nell'ultimo Aldo Moro. Valsecchi non sceglie il simbolismo di Buongiorno, Notte di Bellocchio, ma la miniserie civile a metà tra l'action e il legal drama. L'azione è il sequestro e la sua preparazione, il resto è il processo a Moro da parte delle Br, le mosse dello stato decise negli infiniti colloqui, le contromosse di Moro. Il rapimento è immobilismo dei fatti, è la parola che prende il sopravvento. Si muove solo il ragionamento dialettico, che però non riesce a sbloccare nulla, perché le pedine rimangono ferme nella loro posizione. Una fiction non facile, e peccato per la programmazione (con tanto di replica di House domenica prima della messa in onda della seconda parte: come uccidere in una sola sera due prodotti di qualità)


Sul satellite

Per capire dove va la fiction italiana, bisogna seguire Bruschetta sul satellite. Lì è Duccio di Boris, parodia del mondo della fiction giunta ora alla sua seconda stagione. E adesso si ride di più, molto di più. Merito degli sceneggiatori e degli attori (anche se per alcuni di loro lo sforzo recitativo non deve essere troppo, viste certe dichiarazioni assurde sulla tv sentite in conferenza stampa). Guest star della stagione è l'eccezionale Corrado Guzzanti, ovvero Mariano, un attore psicologicamente instabile e totalmente imprevedibile. Cosa vogliono raccontare gli autori di Boris? La rassegnazione al brutto. Che è un bel tema, e ben si incarna in un set di fiction nostrana, un set che è un luogo di lavoro e quindi un luogo d'abbruttimento. Boris vuole essere il nostro Extras e il nostro The Office. Solo che Ricky Gervais, il mitico autore-attore di tali capolavori, sa infondere alle sue opere un qualcosa in più, un barlume di verità profonda e universale che qui manca. Gli eroi di Boris rimangono ancora al di qua di tutto questo, e non riescono a fare della rassegnazione al brutto qualcosa di più raffinato, alto, profondo di una seppur riuscita e divertente parodia.


Teoria numero 2

Per capire dove va la fiction italiana, ahinoi, bisogna seguire gli ormoni femminili. Ospiti al Telefilm Festival di Milano, gli attori de I Cesaroni hanno generato scene di delirio ormai sconosciute per gli attori italiani di cinema. Il divismo televisivo c'è anche in Italia, bene. Solo che in America se uno vuole non pensare e rifarsi solo gli occhi, si vede Grey's Anatomy e non Capri e I Cesaroni. Le differenze qualitative tra i due paesi si vedono anche nei prodotti di puro svago e senza pretese.


Stefania Carini

Editorial staff

Boris tells the resignation to the ugly on TV

The Tv addicted



Theory number 1

To understand where the Italian drama goes these days are important, and we will keep you updated. Theory number 1: if you want to understand where the Italian drama goes, follow Ninni Bruschetta, good character actor who divides his time between Taodue and Boris. He has played for Valsecchi, producer-author of Taodue, even in the last Aldo Moro. Valsecchi doesn't choose the symbolism of Buongiorno, Notte (Good Morning, Night) by Bellocchio, but the civil miniseries halfway between the action and the legal drama. The action is the seizure and its preparation, the rest is the process to Moro by the BR, the moves of the state decided in the endless talks, the countermoves of Moro. The abduction is immobility of the facts, is the word that takes over. It moves only the dialectical reasoning, that however can not unlock anything, because the pieces remain still in place. A drama (drama) not easy, and pity for the scheduling (with a replica of House on Sunday before the airing of the second part: how to kill in one evening two products of quality)


On the satellite

To understand where the Italian drama goes, you need to follow Bruschetta on the satellite. There he's Duccio of Boris, parody of the world of the drama (drama) now in its second season. And now you laugh more, much more. Merit of the screenwriters and of the actors (though for some of them the recitative effor should not be too much, considered some absurd statements about tv heard during the press conference). Guest star of the second season is the exceptional Corrado Guzzanti, namely Mariano, a psychologically unstable and totally unpredictable actor. What do the authors of Boris want to tell? The resignation to the ugly. Which it's a nice theme, and it's well embodied in a set of Italian drama, a set that is a workplace and therefore a place of brutishness. Boris wants to be our Extras and our The Office. Only that Ricky Gervais, the legendary author-actor of such masterpieces, can instill to his works something more, a glimmer of deep and universal truth that is missing here. The heroes of Boris still remain on the side of all this, and can't make of the resignation to the ugly something more refined, high, deep of even a successful and amusing parody.


Theory number 2

To understand where the Italian drama goes, poor us, you have to follow the female hormones. Guests at the Telefilm Festival in Milan, the actors from I Cesaroni (Original format: Los Serrano) generated scenes of delirium now unknown to the Italian actors of cinema. Television stardom there's also in Italy, well. Only that in America if someone doesn't want to think and rebuild only the eyes, you see Grey's Anatomy and not Capri and I Cesaroni (Original format: Los Serrano). The qualitative differences between the two countries are also seen in the products of pure fun and unpretentious.


Stefania Carini

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