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#FridayVintage - 10 things that Boris has taught us about Italian dramas

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#VenerdìVintage - 10 cose che Boris ci ha insegnato sulle fiction italiane

By Antonio Casu -

"In Italia una fiction diversa, oggi, non solo non è possibile, ma non è neanche augurabile. Non la vuole nessuno una fiction diversa".


Boris è un pesciolino rosso e azzanna più di uno squalo. Lo fa con il sorriso in faccia, piccolo e discreto, confinato dalle programmazioni della tv pubblica in orari improbabili. Boris nasce su Sky, e ha illustrato all'Italia in che condizioni versa oggi la fiction italiana. Quella sempre uguale a se stessa, statica e qualitativamente apprezzabile solo in pochi casi.


È nato su Sky perché è il suo habitat naturale, ma ha boccheggiato nell'oceano del servizio pubblico senza trovare il palcoscenico che avrebbe meritato. La Rai ha puntato su Boris per poi temerlo e confinarlo in esilio. Boris non ha insegnato niente, almeno a loro. A noi sì, e tanto. L'abbiamo amato, visto e rivisto, abbiamo sognato una quarta stagione che probabilmente non arriverà mai e ripetuto ad alta voce i tormentoni di una fuori serie che ha sempre tenuto fede alla definizione originale.


Ci siamo divertiti, grazie a loro. Abbiamo capito tutto sulle fiction italiane, grazie a loro. Boris è l'unico pesce rosso che vivrà più di un paio di giorni, grazie alle sue lezioni.


Scopriamole insieme.


10 cose che Boris ci ha insegnato sulle fiction italiane


#1. La qualità è un rischio, la "merda" una sicurezza


Il vero problema della televisione italiana di prima generazione non è l'incapacità di mandare in onda dei prodotti d'alto livello, ma la mancanza di volontà. La Rai è stata maestra di serialità fin dagli anni Settanta ma poi si è fermata, arrendendosi alle dinamiche più ciniche delle logiche politiche e del mercato pubblicitario. Questo non è servizio pubblico: è vivere per sopravvivere. In Boris si evidenzia quest'aspetto a più riprese, alludendo spesso, seppure indirettamente, ai problemi della tv pubblica e del più pubblico dei network privati. L'Italia sogna Medical Dimension e poi invoca ad alta voce Occhi del cuore. Questione d'abitudine, probabilmente, e di cultura generale, soprattutto. Funzionerà sempre meglio Don Matteo di Non uccidere. "Viva la merda", direbbe René Ferretti.


#2. Tutti le criticano, ma i dati d'ascolto non mentono


Occhi del cuore funziona, e con piccole modifiche ("René, la locura!") funzionerà sempre. Anche quando una fiction parte da presupposti negativi da parte della critica, è il pubblico ad offrire il responso più veritiero: piacciono a pochi, ma tutti le guardano. Per mancanza d'alternative, forse. Per noia, probabilmente. Per trovare un'alternativa alla Settimana Enigmistica da sfogliare a letto prima di dormire, in molti casi. Ma funzionano. Ci sono pochi Montalbano e troppi L'onore e il rispetto poco meritevoli sia di onore che di rispetto, ma sposare qualità e rendimento costante è sempre più difficile.


Il dottor Cane ci illumina in questo senso:

"Occhi del cuore è come il Colosseo: vecchio, decrepito, i piccioni ci defecano sopra, ma lui sta sempre lì e lo guardano tutti".


#3. La tradizione non esiste, ma gli spettatori la pretendono


Le fiction italiane non sono quasi mai lo specchio del Paese reale: lo sono Gomorra e Romanzo Criminale, lo è in minima parte 1992, lo sarebbe un House of Cards in salsa italiana realizzato con un briciolo d'onestà intellettuale, ma non le altre, esclusi sporadici exploit. Gli italiani vivono in un Paese a pezzi e si affidano agli stereotipi del prete e del carabiniere del paesello. Oppure ad una trama improbabile come quella di Occhi del cuore, capace di sorprendere attraverso espedienti narrativi vecchi di decenni. L'Italia è un'altra cosa, ma chiudere gli occhi è molto più semplice.


Lo sceneggiatore Aprea chiarisce meglio il concetto:

"René, la locura. La pazzia, che cazzo René, la cerveza, la tradizione, o merda, come la chiami tu, ma con una bella spruzzata di pazzia: il peggior conservatorismo che però si tinge di simpatia, di colore, di paillette. In una parola: Platinette; perché Platinette, hai capito, ci assolve da tutti i nostri mali, da tutte le nostre malefatte... Sono cattolico, ma sono giovane e vitale perché mi divertono le minchiate del sabato sera. È vero o no? Ci fa sentire la coscienza a posto Platinette, questa è l'Italia del futuro: un paese di musichette, mentre fuori c'è la morte! È questo che devi fare tu: Occhi del cuore sì, ma con le sue pappardelle, con le sue tirate contro la droga, contro l'aborto ma con una strana, colorata, luccicante frociaggine. Smaliziata e allegra come una cazzo di lambada. È la locura René, è la cazzo di locura. Se l'acchiappi hai vinto".


#4. La fotografia deve essere più brutta di quella delle pubblicità


Smarmellare è una filosofia di vita. Duccio, il direttore della fotografia di Occhi del cuore, si affida unicamente a due espedienti tecnici: aprire tutto, oppure chiudere tutto. Duccio è un incapace condizionato negativamente dalla dipendenza dalla cocaina? No, affatto. Duccio mette da parte ogni velleità creativa e si limita a recitare il copione imposto. La fotografia di una fiction italiana deve essere sempre brutta, o quantomeno più brutta della fotografia delle pubblicità che seguono. Il motivo è sempre lo stesso: è la pubblicità l'anima della televisione, e in quanto tale deve emergere con forza, esaltata dal confronto impietoso con la fiction di turno. Il mercato è l'unica arte, e al diavolo le belle luci.


#5. Gli attori devono far schifo anche quando sono bravi


Ammettiamolo: le fiction italiane sono piene di "cagne maledette". Secondo René, Occhi del cuore si basa su quattro espressioni facciali: basita, preoccupata, spensierata e intensa ("la più difficile"). Ad un attore medio delle fiction italiane non si chiede di interpretare il personaggio di turno, ma di essere esattamente quello che il pubblico vuole che sia. Il prodotto deve essere sintetizzato fino ad estraniarsi da ogni forma di novità.


Stanis la Rochelle ci riesce meglio di chiunque altro, Serpentieri no, e René glielo fa capire con grande chiarezza:

"Lei me li fa risaltare due cani così questi due, eh-eh-eh-eh-eh! Molli! Cerchi di mollare un po', ha capito? Lei pensi ad altro, pensi a casa sua, sua moglie, alla spesa, al tempo... La faccia, se mi permette, "a cazzo di cane"! Li ha visti Corinna e Stanis? Eh, come loro! "A cazzo di cane"! E funziona, va bene?".


#6. La serie si adatta all'attore, non viceversa


Ricollegandoci al punto 5, una delle cause delle recitazioni scadenti di molti attori (o presunti tali) è questa: la fiction è un contenitore che si adatta allo stereotipo di interpretazione degli attori, alla ricerca di storie diverse che si sviluppano con i soliti personaggi. Non è Stanis la Rochelle ad avvicinarsi al personaggio, ma viceversa. Gli attori sono dei personaggi spendibili in ogni contesto, prima di tutto. La televisione italiana punta su volti da vendere, non su concetti da esprimere.


A proposito di Stanis:

"Io per reddito annuo e per mentalità sono una multinazionale, e questo è un danno grandissimo, una cosa tremenda. Ma sia ben chiara una cosa però: io non ho nessuna intenzione di commettere gli stessi errori della Telefunken".


#7. La sigla deve entrarti in testa


Questa è l'unica perla universale destinata alle serie tv di tutto il mondo. Quelle italiane, in questo caso, non fanno eccezione. Che sia bella o brutta, una sigla deve entrarti in testa. In Italia sono quasi sempre brutte, e più si cerca di non memorizzarle, più si ottiene il risultato opposto. In fondo, la sigla di Boris, volutamente brutta, non è meno brutta di quella che accompagna i Cesaroni ("Pizza e mortadella, la strada è sempre quella"), involontariamente tremenda. Oppure no? In definitiva: chi l'ha dimenticata? Nessuno, quindi funziona.


#8. Le fiction sono macchine da soldi: investimenti limitati, massima resa


In questo caso è meglio lasciar spazio ad una splendida arrampicata sugli specchi di Sergio:

C'è altro da aggiungere?


#9. Le raccomandazioni sono il motore del nostro paese


Chiunque è raccomandato in Occhi del cuore. Chiunque! Anche i personaggi più insospettabili. Gli italiani cercano lo specchio reale del Paese? Eccolo. A prescindere dalle qualità recitative o le capacità tecniche in un determinato ruolo, il cast si costruisce sulla base delle conoscenze giuste che porta una persona. Il risultato, agli occhi di un estraneo a queste dinamiche, è questo:


#10. La politica conta. Eccome se conta


Le fiction italiane rispondono alle esigenze degli spettatori, ma non solo. Rispondono alle esigenze della politica, in Rai e non solo. Non esiste strumento di massa più efficace nel condizionare l'andamento politico di un Paese. Le fiction modellano il pensiero del popolo meno istruito, lo indirizzano e gli presentano un modello edulcorato che sia il compromesso tra le esigenze di mercato e quelle dello scacchiere del potere. Finché la Rai sarà commissariata dai partiti, la fiction italiana resterà sempre uguale a se stessa. Uno strumento di potere, più che un mezzo di comunicazione. E sarà sempre vincente.


In questo caso non si può non lasciar voce a Lopez:

"Ma tu ti rendi conto cosa succederebbe se interamente qualcuno facesse una fiction più moderna? Ben scritta, ben recitata, ben girata. Ma tutto un intero sistema industriale, ma fondamentale per il nostro paese, di colpo così da un giorno all'altro, dovrebbe chiudere! Caput! Ma la domanda è un'altra: perché rivoluzionare un sistema che funziona già?".


Appunto, perché? Boris è e resterà sempre un pesciolino da relegare alle 3 del mattino. Purtroppo.


Antonio Casu


@antoniocasu_


Un saluto agli amici di Boris Italia.

#FridayVintage - 10 things that Boris has taught us about Italian dramas

By Antonio Casu -

"In Italy a different drama, today, not only is not possible, but it's not even desirable. Nobody wants a different drama".


Boris is a goldfish and bites more than a shark. It does it with the smile on the face, small and discreet, confined by the schedulings of the public TV in unlikely times. Boris borns on Sky, and it has illustrated to Italy in which conditions is today the Italian drama. The one always identical to itself, static and qualitatively appreciated only in a few cases.


It was born on Sky because is its natural habitat, but it has gasped in the ocean of the public service without finding the stage it would have deserved. Rai has bet on Boris for then fearing it and confining it in exile. Boris has not taught anything, at least to them. To us yes, and a lot. We have loved it, watched and rewatched, we have dreamed a fourth season which probably will never be realized and repeated aloud the catchphrases of an off series that has always been faithful to the original definition.


We had fun, thanks to them. We have understood all about Italian drama, thanks to them. Boris is the only goldfish that will live longer than a few days, thanks to its lessons.


Let's find them out together.


10 things that Boris has taught us about Italian drama


#1. The quality is a risk, the "shit" is a security


The real problem of the Italian television of first generation is not the inability to broadcast some high level products, but the lack of will. Rai has been teacher of seriality since Seventies but then has stopped, surrendering to the most cynical dynamics of the political logics and of the advertising market. This is not public service: is to live in order to survive. In Boris this aspect is highlighted several times, often referring, although indirectly, to the problems of the public TV and of the most public among the private networks. Italy dreams Medical Dimension and then calls aloud Occhi del cuore (Eyes of the heart). Question of habit, probably, and of general culture, especially. It will always work better Don Matteo (Father Matteo) than Non uccidere (Don't kill). "Hurrah for the shit", René Ferretti would say.


#2. Everyone criticize them, but the audience data don't lie


Occhi del cuore (Eyes of the heart) works, and with small changes ("René, the madness!") will always work. Even when a drama begins from negative assumptions from critics, is the audience to provide the most truthful response: they like to a few, but all watch them.. For lack of alternatives, perhaps. For boredom, perhaps. To find an alternative to the Settimana Enigmistica (Week Puzzles) to browse in bed before sleeping, in many cases. But they work. There are a few Montalbano and too many L'onore e il rispetto (The honor and the respect) a little worthy both of honor than of respect, but join quality and constant performance is increasingly difficult.


The dottor Cane (President Cane) enlightens us in this sense:

"Occhi del cuore (Eyes of the heart) is like the Colosseo (Coliseum): old, decrepit, pigeons defecating on it, but it's always there and everyone admire it".


#3. The tradition doesn't exist, but viewers demand it


The Italian dramas are almost never the mirror of the real Italy: Gomorra (Gomorrah) and Romanzo Criminale (Criminal Romance) are, 1992 is minimally, a House of Cards in Italian sauce would be made with a modicum of intellectual honesty, but not the others, excluded sporadic exploits. Italians live in a country in pieces and rely on stereotypes of the priest and of the carabiniere (cop) of the little town. Or on an unlikely plot as the one of Occhi del cuore (Eyes of the heart), able to surprise through narrative expedients decades old. Italy is another thing, but close the eyes is much simpler.


The screenwriter Aprea clarifies better the concept:

"René, the madness. The insanity, what the fuck René, the lunacy, the tradition, or shit, as you call it, but with a nice splash of craziness: the worst conservatism that however is tinged with sympathy, with color, with paillette. In a word: Platinette; because Platinette, understood, absolves us from all our evils, from all our misdeeds... I am Catholic, but I'm young and vital because I enjoy the bullshits of Saturday night. Is it true or not? Platinette makes us feel the clear conscience, this is the Italy of the future: a country of jingles, while outside there is the death! This is what you have to do: Occhi del cuore (Eyes of the heart) yes, but with its rigmaroles, with its tirades against the drug, against the abortion but with an odd, colored, shimmering faggyness. Cunning and happy like a fucking lambada. Is the madness René, is the fucking madness. If you catch it you won".


#4. The photography must be uglier than the one of the advertising


Smarmellare (Open all the light) is a philosophy of life. Duccio, the director of photography of Occhi del cuore (Eyes of the heart), relies himself only to two technical expedients: open all, or close all. Is Duccio an incompetent negatively affected by the dependence from the cocaine? No, at all. Duccio puts aside any creative ambition and limits himself to recite the forced script. The photography of an Italian drama must always be ugly, or at least uglier than the one of the photography of the advertisings that follows. The reason is always the same: the advertising is the soul of the television, and as such it must emerge strongly, enhanced by the unfavorable comparison with the drama of the moment. The market is the only art, and to the hell the beautiful lights.


#5. The actors have to suck even when they are good


Let's admit it: the Italian drama are full of "damned bitches". According to René, Occhi del cuore (Eyes of the heart) is based on four facial expressions: basita (astonished), preoccupata (worried), spensierata (carefree) and intense ("the most difficult"). At an average actor of Italian drama is not asked to play the character of the moment, but of being exactly what the audience wants he is. The product must be synthesized up to cut itself from any form of innovation.


Stanis la Rochelle succeeds better than anyone else, Serpentieri no, and René makes him understand very clearly:

"In this way you make stand out this two as two dogs, eh-eh-eh-eh-eh! Give up! Try to give up a little, did you understand? You think to anything else, think to your home, your wife, to the grocery shopping, to the weather... Make it, if you allow me, "messily"! Did you see Corinna and Stanis? Eh, like them! "To fucking dog"! And it works, all right?".


#6. The series adapts itself to the actor, not vice versa


Reconnecting us to the point 5, one of the causes of the poor recitations of many actors (or assumed) is this: the drama is a container that fits the stereotype of interpretation of the actors, looking for different stories that are developed with the usual characters. Is not Stanis la Rochelle to approach the character, but vice versa. The actors are some expendable characters in any context, first of all. The Italian television relies on faces to be sold, not on concepts to be expressed.


About Stanis:

"I am a multinational corporation for annual income and mentality, and this is a very great loss, a terrible thing. But one thing must be very clear however: I have no intention of making the same mistakes of the Telefunken".


#7. The opening theme must enter in your head


This is the only universal pearl destined to the TV series around the world. The Italian ones, in this case, are no exception. Whether good or bad, an opening theme must enter in your head. In Italy are almost always ugly, and the more you try to not memorize them, the more you get the opposite result. After all, the opening theme of Boris, deliberately ugly, is not less ugly of the one that accompanies I Cesaroni (Original format: Los Serrano) ("Pizza and mortadella, the road is always that"), involuntarily tremendous. Or not? Definitely: who has forgotten it? Nobody, so it works.


#8. The drama are money machines: limited investments, maximum yield


In this case is better to leave space for a splendid clutch at straws by Sergio:

Anything else to add?


#9. The recommendations are the engine of our country


Anyone is recommended in Occhi del cuore (Eyes of the heart). Anyone! Even the most unexpected characters. Italians look for the real mirror of Italy? Here it is. Regardless of the acting qualities or technical capacities at some role, the cast is constructed on the basis of the right connections that a person has. The result, in the eyes of a stranger to these dynamics, it's this:


#10. The politics counts. And how if counts


The Italian drama respond to the needs of the viewers, but not only. They respond to the needs of the politics, in Rai and not only. Doesn't exist mass instrument more effective in influencing the political evolution of a Country. The drama shape the thinking of the less instructed people, address it and present to it a sugarcoated model that is the compromise between the market needs and those of the power zone. As long as the Rai will be controlled by the parties, the Italian drama will always remain identical to itself. A power instrument, more than a mean of communication. And it will always be winning.


In this case must be listened the words of Lopez

"But do you realize what would happen if someone did entirely a more modern drama? Well written, well played, well shot. But all an entire industrial system, but fundamental for our country, suddenly from one day to another, should close! Kaput! But the question is another: why revolutionize a system that already works?".


Exactly, why? Boris is and will always be a small fish to relegate at 3:00 a.m. in the morning. Unfortunately.


Antonio Casu


@antoniocasu_


A greeting to the friends of Boris Italia.

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February 26, 2016 | Velvet Cinema Italia

Boris: the complete series arrives on Netflix
News 2016 - Netflix Italy: the complete series of Boris was released!

February 26, 2016 | MangaForever

Netflix Italy: the complete series of Boris was released!
News 2016 - The three seasons of Boris are available on Netflix

February 26, 2016 | IGN Italia

The three seasons of Boris are available on Netflix
News 2016 - The Italian TV series Boris officially arrives on Netflix!

February 26, 2016 | SmartWorld

The Italian TV series Boris officially arrives on Netflix!
News 2016 - Netflix add in catalog the first Italian series

February 26, 2016 | Webtelevision

Netflix add in catalog the first Italian series
News 2016 - Boris, the three seasons from today are available on Netflix

February 26, 2016 | Movieplayer

Boris, the three seasons from today are available on Netflix
News 2016 - From today the tv series "Boris" is on Netflix ("come on come on come on!")

February 26, 2016 | Il Post

From today the tv series "Boris" is on Netflix ("come on come on come on!")
News 2016 - Netflix Italy has added Boris to its catalogue

February 26, 2016 | Neflix

Netflix Italy has added Boris to its catalogue
News 2016 - Boris returns on Netflix, 10 reasons to rewatch the funniest Italian TV series

February 25, 2016 | Dailybest

Boris returns on Netflix, 10 reasons to rewatch the funniest Italian TV series
News 2016 - "Boris" on Netflix, 10 years later the fiction (drama) in Italy is still "to fucking dog"

February 25, 2016 | Fanpage

"Boris" on Netflix, 10 years later the fiction (drama) in Italy is still "to fucking dog"
News 2016 - Boris, the three seasons of the show come on Netflix

February 25, 2016 | Wired

Boris, the three seasons of the show come on Netflix
News 2016 - Ninni Bruschetta: «From "Boris" to "Quo vado?", my life as wingman»

February 25, 2016 | TV Sorrisi & Canzoni

Ninni Bruschetta: «From "Boris" to "Quo vado?", my life as wingman»
News 2016 - Boris arrives on Netflix: in streaming all and 3 the seasons

February 25, 2016 | TV Sorrisi & Canzoni

Boris arrives on Netflix: in streaming all and 3 the seasons
News 2016 - Boris: the "metaserial", the grotesque and the disillusionment.

January 05, 2016 | Grado Zero

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

Random merchandising

Last news

News 2019 - The cast of Boris at Asperger Film Festival 2019

November 11, 2019 | Facebook - Asfilmfestival

The cast of Boris at Asperger Film Festival 2019
News 2019 - Tribute to Boris. When the meta-TV exceeds the TV

October 25, 2019 | MentiSommerse.it

Tribute to Boris. When the meta-TV exceeds the TV

Random meme

S01E07

There is nothing more divine than fucking the cousin.
S01E04

Well, I propose you, to stay here, as a volunteer, or... or go to fuck yourself!

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