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News 2008

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It comes «Boris», the drama-punisher

| IlGiornale.it

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Arriva «Boris», il castiga-fiction



Paolo Scotti - Ven, -

da Roma


La fiction nella fiction. Ovvero: come raccontare il genere rimanendo nel genere. Questo probabilmente il motivo del successo di Boris: la fiction che racconta cosa c'è dietro a una fiction; «divertendosi a svelarne le assurdità, le magagne, le cialtronerie». Attualmente sul set, per andare in onda a maggio su Fox, il canale 110 di Sky, la seconda serie di Boris promette di «continuare nel suo obbiettivo: svelare al grande pubblico i segreti del genere tv più conosciuto - spiega lo sceneggiatore e regista Mattia Torre -; oggi infatti la fiction ha preso il posto della letteratura. È seguita da milioni di persone, potrebbe farsi veicolo di contenuti alti. E invece è spesso realizzata con cinismo, con spregiudicatezza: mirando solo a fare ascolti. E a farli in fretta».

Ambientato sullo sgangherato set di una soap vagamente ispirata all'improbabile mondo di Incantesimo, e intitolata Gli occhi del cuore 2 (anche qui c'è una clinica privata, Villa Orchidea; anche qui medici, infermiere e malati), Boris satireggia sul quotidiano dibattersi d'un variopinto gruppo di addetti ai lavori (lo squinternato regista Francesco Pannofino, il vanitoso divo Pietro Sermonti, le starlette raccomandate Carolina Crescentini ed Eugenia Costantini, l'inflessibile assistente alla regia Caterina Guzzanti) tra mancanza di mezzi e di tempo, dialoghi assurdi, trame sconnesse. E quest'anno, nel cameo del cattivo della storia, c'è anche Corrado Guzzanti. «Volevamo ironizzare soprattutto sulle fiction Rai o Mediaset - spiega Ciarrapico -, cioè su prodotti fatti spesso con la mano sinistra, pensando che il pubblico cui sono destinati sia composto da dementi». Qual è il principale problema delle fiction italiane? «La scrittura - risponde Vendruscolo -; non perché manchino bravi autori. Ma perché sono gli editori, a pretendere sceneggiature omologate, con un forte incanalamento dei contenuti, e quindi senza voglia di novità o di sperimentazione. Non vogliono rischiare: azzeccano un prodotto e lo replicano per anni».

Ma sciatteria e pressappochismo da voi raccontati li avete sperimentati personalmente? «In parte quando scrivevamo per gli altri; in parte da comuni spettatori. Chiunque veda le fiction generaliste si accorge di quanto siano fatte male». Singolare la posizione di Pietro Sermonti, già protagonista d'una fiction convenzionale come Un medico in famiglia: «La differenza fra quel prodotto e questo è evidente. Lì ero condannato a fare il rubacuori. Qui per la prima volta ho scoperto di poter fare anche ridere», racconta Sermonti.

It comes «Boris», the drama-punisher



Paolo Scotti - Fri, -

from Rome


The drama in the drama. That is: how to tell the genre remaining in the genre. This probably the reason for the success of Boris: the drama that tells what is behind a fiction; «enjoying to reveal the absurdities, the flaws, the lazinessess». Currently on the set, for airing in May on Fox, channel 110 on Sky, the second series of Boris promises to «continue in its attempt to reveal to the general public the secrets of the tv genre most known - says the screenwriter and director Mattia Torre -; today in fact the drama has taken the place of literature. It's followed by millions of people, it could become the vehicle of important contents. But instead it often made with cynicism, with ruthlessness: aiming only to make ratings. And to do them quickly».

Set on the ramshackle set of a soap vaguely inspired by the improbable world of Incantesimo (Enchantment), and entitled Gli occhi del cuore 2 (The eyes of the heart 2) (even here there's a private clinic, Villa Orchidea (Orchid Villa); even here doctors, nurses and patients), Boris satirizes the daily struggle of a varied group of professionals (the insane director Francesco Pannofino, the vain star Pietro Sermonti, the recommended starlets Carolina Crescentini and Eugenia Costantini, the inflexible first assistant director Caterina Guzzanti) between lack of resources and time, absurd dialogues, rough plots. And this year, in the cameo of the villain of the story, there's also Corrado Guzzanti. «We wanted to be ironic especially on Rai or Mediaset drama - explains Ciarrapico -, that is on products often made with the left hand, thinking that the public which are destined is composed of lunatics». What is the main problem of the Italian drama? «The writing - responds Vendruscolo -; not because good authors lack. But because are the publishers, to claim homologated screenplays, with a strong channeling of the contents, without wish for new things or experimentation. They don't want to risk: they guess a product and they replicate it for years».

But sloppiness and carelessness told by you have you personally experienced them? «In part when we wrote for others; in part as common viewers. Anyone who sees the generalist drama realizes how badly are made». Singular the position of Pietro Sermonti, already protagonist of a conventional drama like Un medico in famiglia (A Doctor in the Family - Original format: Médico de familia): «The difference between that product and this is evident. There I was sentenced to do the heartthrob. Here for the first time I have found I could make laugh too», tells Sermonti.

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