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News 2016

Last update:

Boris: the "metaserial", the grotesque and the disillusionment.

| RivistaGradoZero.Wordpress.com

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Boris: il "metaseriale", il grottesco e la disillusione.

di Guido Scaravilli

Duccio: La fotografia fa schifo! E lo sai perché fa schifo?

Alessandro: Non lo so...

Duccio: Perché lo vogliono loro! Lo vogliono loro! Nella fiction la fotografia non deve essere più bella di quella della pubblicità, se no la gente cambia canale: hanno pensato a tutto!


Boris, 1×01, "Il mio primo giorno"

Il dialogo amaro tra i due personaggi riportato è una nota scena della premiere della serie televisiva italiana Boris prodotta da Wilder. All'aggettivo "italiana" molti avranno già storto il naso, stigmatizzato aprioristicamente il prodotto - e l'articolo - prima ancora di averlo visionato. Ciò non solo per la nota sindrome del provincialismo culturale che ci caratterizza e che ci porta spesso - forse pateticamente - a scimmiottare la chimera del modello americano, ma anche per una banale - o apparentemente tale come ci insegna Boris - motivazione: la qualità media dei prodotti italiani seriali (specialmente quando si parla di fiction) è infima.


Le uniche gemme che godono di una visibilità internazionale sono Gomorra, Romanzo criminale e per l'appunto l'opera di Wilder. Si salvano dalla desertificazione la prima stagione della comedy Tutti pazzi per amore e (rari) frammenti del Commissario Montalbano. Escludendo queste salvifiche oasi, la realtà è una tragica desolazione. La domanda lecita che ciascuno si sarà posto a questo punto è "perché"? Gli italiani sono forse incapaci di competere - per risorse economiche, attitudine organizzativa o incapacità cronica - con la golden age (così è stato definito l'ultimo aureo decennio seriale americano) di oltremanica? Vi è una supervisione dall'alto castrante per l'estro creativo dei registi o degli addetti ai lavori in senso lato? Motivazioni politiche subentrano in alcune scelte di sceneggiatura o di storyline? Perché gli attori nostrani sono così scadenti? Perché i migliori vengono deliberatamente ignorati e relegati nell'oblio? Perché i continui buchi di trama e le incoerenze reiterate si moltiplicano episodio per episodio imperdonabilmente? Per cosa si caratterizza davvero il set italiano, lo stesso set che nel cinema in passato ha saputo fare scuola con capolavori indimenticabili? Boris è la risposta a molti di questi interrogativi - consci o inconsci - che ognuno timidamente si è posto, ma a cui solo in pochi hanno saputo trovare delle risposte esaustive.

Signori io mi scuso con tutti voi, ma questa fiction è davvero tremenda.


René Ferretti (regista)

Boris, come già detto, è una serie televisiva pluripremiata prodotta dal al per Fox International Channels Italy di tre stagioni (più un film postumo) e successivamente trasmessa in chiaro su "Cielo" e sulle reti nazionali in tarda serata, precisamente su Rai 3. Le ragioni non sono certo misteriose. La parca diffusione del prodotto è dovuta unicamente a una spiegazione: Boris è un'opera intellettualmente scomoda. Scomoda semplicemente perché racconta la verità, cosa che nel bel paese è sempre stato un problema non trascurabile.


Soprannominata La fuori serie italiana, Boris è un prodotto - si accetti il neologismo - "metaseriale". Il telespettatore è "introdotto" - tramite gli occhi dello stagista sognatore Alessandro, appassionato di spettacolo, che sembra finalmente riuscire a coronare il suo sogno quando è chiamato a effettuare un periodo di prova nella produzione della fiction televisiva Gli occhi del cuore 2 (titolo che è una palmare parodia dei tanti cicli seriali melodrammatici nostrani) - dietro le quinte di un set televisivo. Ma l'impatto è sconcertante. Corruzione e raccomandazioni, attori incapaci protetti da potenti "segnalazioni", "prime donne" che osteggiano l'attività creativa, attori talentuosi deliberatamente ignorati e finanche derisi, carenza cronica di sceneggiature e di un programma organico ab origine, improvvisazioni pacchiane ed estemporanee, fotografia impresentabile, stagisti schiavizzati e disillusi, reiterate supervisioni delle forze politiche che interferiscono (nemmeno velatamente) con la produzione e pilotano il tutto dall'alto, registi geniali vincolati dalla mediocrità della materia prima, da imposizioni che li costringono all'appiattimento, ad annegare nella mediocrità e nel nonsense. L'universo dipinto da Boris è di un nichilismo agghiacciante: ogni conato emancipatorio è destinato a perire, ogni idealismo a essere accantonato, se non amaramente deriso, dinanzi all'imperante principio di realtà. La serie stessa è un percorso graduale e ineluttabile verso la catastrofica - italica verrebbe da dire - disillusione. Il set è un microcosmo, un'epitome dell'Italia intera: le immense potenzialità sono destinate a essere dissipate, la logica truffaldina del compromesso - per usare un eufemismo - a regnare sovrana. Non si producono serie televisive di qualità non per incapacità, ma semplicemente perché non si ha nessun interesse a farlo. Chi vedrà Boris comprenderà a fondo tutte le dinamiche più profonde, poiché ogni episodio si focalizza su un singolo tema che viene magistralmente enucleato e sviscerato in ogni suo aspetto.



Ciò che sorprende, però, è lo stile: Boris è irresistibilmente comico, grottesco. Difatti, per quanto sui generis, il prodotto è classificabile tra le comedy. Un'ironia amara, disincantata, che si dispiega da un'inconsolabile disperazione che tutto pervade, che tutto annienta. Un'ironia distruttiva che dipinge un mondo a tinte fosche, cinico, angosciante. Le uniche soluzioni che sembrano profilarsi sono la fuga disperata verso altri lidi o l'accettazione passiva, mortificante, di un sistema così atroce da apparire parossistico, così profondamente radicato da sembrare inannientabile.


La visione di Boris è un'occasione imperdibile che ogni italiano - appassionato di spettacolo o meno - deve cogliere per comprendere la realtà a lui circostante, per meditare seriamente su aspetti che talora ci appaiono superflui e minimali, ma che celano intenti manipolatori invasivi da cui ciascuno deve tentare di sottrarsi. Boris è un canto di desolazione volutamente pervasivo e totalizzante, perché racchiude in sé la speranza - ultima a perire come nel mito del vaso di Pandora - di innescare una scintilla nelle singole coscienze, di instillare una volontà di cambiamento che appare irrealizzabile, vana, ma che bisogna sempre tentare di perseguire. Ma l'opera di Wilder è anche un'occasione unica per comprendere (indirettamente) cosa sia davvero il genere seriale, quali siano le dinamiche, le vere potenzialità. Un gioiello tutto italiano (paradossalmente solamente noi avremmo potuto idearlo) che rappresenta una tappa imprescindibile per comprendere la rivoluzione che è in atto nell'ultimo ventennio, ma che in Italia è stata percepita parzialmente (ed erroneamente) per plurime ragioni: il potenziale immenso delle serie televisive.


Guido Scaravilli

Boris: the "metaserial", the grotesque and the disillusionment.

by Guido Scaravilli

Duccio: The photography sucks! And do you know why it sucks?

Alessandro: I don't know...

Duccio: Because they wanted it! They wanted it! In the drama the photography must not be more beatiful than the one of the advertising, otherwise people change channel: they have thought about everything!


Boris, 1×01, "Il mio primo giorno" (My first day)

The bitter dialogue between the two characters reported is a known scene of the premiere of the Italian tv series Boris produced by Wilder. At the adjective "Italian" many will have already turned up their noses, stigmatized a priori the product - and the article - even before to have read it. This not only for the known syndrome of the cultural provincialism that characterizes us and that leads us often - maybe pathetically - to mimic the chimera of the American model, bus also for a banal - or apparently so as we learn from Boris - reason: the average quality of the Italian serial products (especially when we talk about drama) is very poor.


The only gems that have an international visibility are Gomorra (Gomorrah), Romanzo criminale (Criminal Romance) and precisely the series by Wilder. Are saved from the desertification the first season of the comedy Tutti pazzi per amore (All crazy about love) and (rare) fragments of the Commissario Montalbano (Inspector Montalbano). Excluding these salvific oases, the reality is a tragic desolation. The legitimate question that everyone will be asked at this point is "why"? Are perhaps the Italians unable to compete - for economic resources, organizational aptitude or chronic inability - with the golden age (so it has been defined the last golden decade American serial) of across the Channel? Is there a supervision from top castrating for the creative talent of the directors or of the insiders in a broad sense? Do political motivations take over in some screenwriting choices or storyline? Why Italian actors are so poor? Why the best ones are deliberately ignored and relegated to the oblivion? Why the continuous storyline holes and the repeated inconsistencies multiply episode by episode unforgivably? For what does really the Italian set characterize, the same set that in the cinema in past has been able to teach with unforgettable masterpieces? Boris is the answer to many of these questions - conscious or unconscious - that everyone has timidly asked, but to whom only a few have been able to find some exhaustive answers.

Gentlemen I apologize to you all, but this drama is really awful.


René Ferretti (director)

Boris, as already said, is an award-winning television series produced from to for Fox International Channels Italy of three seasons (plus a posthumous movie) and then transmitted in clear on "Cielo" and on national networks in late evening, specifically on Rai 3. The reasons are certainly not mysterious. The frugal distribution of the product due entirely to an explanation: Boris is a work intellectually inconvenient. Inconvenient simply because it tells the truth, a thing that in Italy has always been a not negligible problem.


Nicknamed La fuori serie italiana (The Italian off series), Boris is a product - accept the neologism - "metaserial". The viewer is "introduced" - through the eyes of the dreamer intern Alessandro, passionate about spectacle, which seems to finally be able to realize his dream when he is called to make a trial period in the production of the televisive drama Gli occhi del cuore 2 (The eyes of the heart 2) (title that is a clear parody of the many Italian melodramatic serial cycles) - behind the scenes of a TV set. But the impact is disconcerting. Corruption and recommendations, incapable actors protected by powerful "recommendations", "first women" who oppose the creative activity, talented actors deliberately ignored and even ridiculed, chronic lack of screenplays and of an organic program ab origine, flashy and extemporaneous improvisations, unpresentable photography, enslaved and disillusioned interns, repeated supervisions of the political forces that interfere (not even covertly) with the production and drive the whole from the top, brilliant directors bound by the mediocrity of the raw material, by impositions that force them to the flattening, to drown in the mediocrity and in the nonsense. The universe painted by Boris is of an chilling nihilism: every emancipatory effort is bound to perish, every idealism to be shelved, if not bitterly disappointed, before the prevailing principle of reality. The series itself is a gradual and inevitable path to the catastrophic - Italic one might say - disillusionment. The set is a microcosm, an epitome of the whole Italy: the immense potentials are intended to be dissipated, the fraudulent logic of the compromise - to use an euphemism - to reign supreme. Quality tv series aren't produced not because inability, but simply because there's not any interest to do it. Who will watch Boris will fully understand all the deeper dynamics, because each episode focuses on a single theme that is masterfully enucleated and dissected in every aspect.



What is surprising, though, is the style: Boris is irresistibly comic, grotesque. In fact, as far as sui generis, the product is classifiable among the comedies. A bitter irony, disenchanted, that unfolds from an inconsolable despair that pervades everything, that destroys everything. A destructive irony that paints a gloomy world, cynical, distressing. The only solutions that seem possible are the desperate escape to other countries or the acceptance passive, mortifying, of a system so atrocious to appear paroxysmal, so deeply rooted as to seem indestructible.


The vision of Boris is a unique opportunity that every Italian - passionate about spectacle or not - has to collect to understand the reality surrounding him, to meditate seriously on aspects that sometimes appear to us superfluous and minimal, but that hide intentions manipulators invasive from which everyone must try to escape. Boris is a song of desolation deliberately pervasive and totalizing, because it contains in itself the hope - last to perish as in the myth of the Pandora's Box - to ignite a spark in the individual consciences, to instill a desire for change that appears impossible, vain, but that it needs always to try to pursue. But the work by Wilder is also a unique opportunity to understand (indirectly) what is really the serial genre, what are the dynamics, the true potentialities. A jewel all Italian (paradoxically only we Italians could have invented it) which represents an essential stage to understand the revolution that is in place in the last two decades, but that in Italy has been partially perceived (and erroneously) for multiple reasons: the immense potential of the tv series.


Guido Scaravilli

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