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Boris, the cult anti-drama

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Boris, l'antifiction di culto

di Giovanni Prattichizzo


Sono iniziate da pochi giorni a Roma le riprese della seconda stagione di Boris. Nuovi personaggi e l'ironia di sempre...

Boris, il pesciolino rosso che presta il nome alla fiction, ha ancora molto da osservare e imparare mentre nuota e sbircia quello che lo circonda dalla sua piccola vasca di cristallo.

Quando, lo scorso anno, ha debuttato sul canale satellitare Fox, Boris è immediatamente diventata un vero fenomeno di culto. La prima stagione era incentrata sulle vicende di una troupe televisiva sul set della soap Occhi del cuore 2 (sempre sul punto di chiudere visto lo scarso successo degli Occhi del cuore 1): i protagonisti principali erano il regista Renè (Francesco Pannofino) sempre alle prese con attori e attrici scadenti tra i quali Stanis (Pietro Sermonti), Corinna (Carolina Crescentini), la nuova arrivata Cristina (Eugenia Costantini) e Karin (Karin Proia). Accanto a loro Arianna, assistente alla regia interpretata da Caterina Guzzanti, non a caso tra le guest star della seconda serie di "Boris" dovrebbe esserci suo fratello Corrado Guzzanti, mentre nella prima stagione l'ospite d'onore è stato un attore di gran livello come Roberto Herlitzka, oltre a Giorgio Tirabassi e Valerio Mastandrea. Il tutto è raccontato dal punto di vista di Alessandro (Alessandro Tiberi), stagista sfruttato innamorato del mondo dello spettacolo.

Boris (soggetto di Luca Manzi e Marco Mazzotta, sceneggiatura di Giacomo Ciarrapico, Mattia Torre e Luca Vendruscolo) racconta, con sarcasmo e ironia, costumi e malcostumi di un particolare modo di fare tv. Modello di riferimento in grado di conquistare il pubblico grazie all'ironia, al linguaggio originale e alla scelta degli attori. Di fianco all'idea, di per sè originale (il dietro le quinte dello show ricorda un po' Studio 60, la serie americana sul mondo di un grande network televisivo ispirato alla NBC), si deve sottolineare il tono dissacrante e lo humor con cui le vicende vengono raccontate; una sorta di parodia della "classica" fiction.

I cliché sono tutti presenti. Così come l'ironia per raccontarli. Uno dei meriti di Boris consiste, infatti, nella dose di acidità e sarcasmo intelligente con cui si fotografano caratteri e situazioni, tic e tormentoni. Corrette le citazioni e i rimandi ad altre fiction di successo, d'altronde, quasi tutti gli attori della serie si sono misurati più volte con il genere sotto esame.

Un progetto senza dubbio coraggioso, che presenta la fiction in tutte le sue declinazioni, mettendola finalmente a nudo e smascherando i meccanismi con cattiveria e irriverenza. Una serie che, prendendo in giro questo sistema produttivo, tenta di dare un nuovo input a chi scrive e realizza la fiction italiana, dimostrando come si possa ancora raccontare con libertà, originalità e intelligenza senza sottostare alle leggi dell'audience.

Quasi un paradosso che, al tempo stesso, crea ritmo, dialettica e non-sense a suo modo intriso di una sua carica sferzante e persino brillante.

Peccato solo che non sembra ancora arrivato il tempo di vedere una serie del genere sulla televisione generalista e per seguirla dobbiamo per forza rifugiarci sul satellite di Sky.

Boris, the cult anti-drama

by Giovanni Prattichizzo


From a few days are started in Rome the shootings of the second season of Boris. New characters and the irony of always...

Boris, the goldfish that lends its name to the fiction, has still much to observe and learn while swims and peeks that surrounds it from its small crystal bath.

When, last year, made its debut on satellite channel Fox, Boris has immediately become a true cult phenomenon. The first season was focused on the stories of a tv crew on the set of the soap Occhi del cuore 2 (Eyes of the heart 2) (always on the verge of closing due to the low success of Occhi del cuore 1 (Eyes of the heart 1)): the main protagonists were the director Renè (Francesco Pannofino) continuously faced with poor actors and actresses among which Stanis (Pietro Sermonti), Corinna (Carolina Crescentini), the new entry Cristina (Eugenia Costantini) and Karin (Karin Proia). Beside them Arianna, first assistant director played by Caterina Guzzanti, no coincidence that among the guest stars of the second series of "Boris" should be hers brother Corrado Guzzanti, while in the first season the guest of honor was an actor of great level as Roberto Herlitzka, besides Giorgio Tirabassi and Valerio Mastandrea. Everything is told from the point of view of Alessandro (Alessandro Tiberi), intern exploited enamored of the entertainment world.

Boris (subject by Luca Manzi and Marco Mazzotta, screenplay by Giacomo Ciarrapico, Mattia Torre and Luca Vendruscolo) tells, with sarcasm and irony, manners and bad habits of a particular way of making TV. Model of reference able to conquer the audience with the irony, the original language and the choice of actors. Next to the idea, in itself original (the behind the scenes of the show reminds a little Studio 60 (Studio 60 on the Sunset Strip), the American series about the world of a large television network inspired by NBC), it must be emphasized the irreverent tone and the humor with which the stories are told; a kind of parody of the "classic" drama.

The clichés are all present. As well as the irony to tell them. One of the merits of Boris consists, in fact, in the dose of acidity and intelligent sarcasm with which are photographed characteristics and situations, tics and catchphrases. Corrected the quotes and the references to other successful dramas, indeed, almost all the actors of the series were measured repeatedly with the genre under consideration.

A certainly courageous project, which presents the drama in all its forms, finally putting it naked and exposing the mechanisms with malice and irreverence. A series that, mocking this productive system, tries to give a new input to those who write and realize the Italian drama, showing how it's still possible tell with freedom, originality and intelligence without being subjected to the laws of the audience.

Almost a paradox that, at the same time, creates rhythm, dialectic and non-sense in its own way drenched in its scathing charge and even brilliant.

Just a shame that seems it's not yet arrived the time to see a series of this genre on the generalist television and to follow it we have necessarily to refuge on the satellite of Sky.

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