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Serial Must - Boris

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Serial Must - Boris

Mustaelide Leave a comment 44 views

"Perché un'altra televisione diversa, è impossibile! Viva la merda!" Ecco, se volete una sintesi, raggiungere immediatamente l'essenza di Boris, questa battuta detta all'interno della serie è la più adatta al caso. Vi ricordate le sere d'estate passate a casa della nonna, assorta a guardare serie come Un posto al sole? E vi chiedevate cosa cavolo ci trovasse la nonna, donna molto intelligente in tutti gli altri frangenti della vita, in una serie televisiva grondante di patetismo e vacuità dei contenuti? Cosa succederebbe se, per caso, avessimo la possibilità di andare dietro le quinte di Un posto al sole e scoprire che lo stesso regista, produttore, sceneggiatore reputano anche loro lo show una somma schifezza per pantofolai incalliti? Boris è tutto questo e anche di più.


Una meta-serie su Occhi del cuore, ovvero un medical drama orripilante. Non solo i protagonisti di Occhi del cuore, il narciso Stanis e la "cagna" (come viene più volte apostrofata alle spalle dal regista René Ferretti) Corinna, nel ramo dello spettacolo per una serie di conoscenze e maneggi che poco hanno a che fare con la sua (scarsa) capacità recitativa, sono faticosamente sopportati dal resto della troupe, ma gli stessi sceneggiatori non sanno che pesci pigliare.


O meglio, sanno benissimo come impiegare il tempo lavorativo con il cazzeggio, ma in materia di scrittura sono letteralmente a secco. Ma questa è la filosofia di Boris: si porta a casa, si smarmella, pur di andare a casa e ricevere la paga. La qualità passa in secondo piano, tanto la gente desidera la schifezza, anela verso il mediocre, per cui basta seguire le linee guida, come cuocere qualcosa di già pronto, qualche gesto approssimativo ed ecco, la pancia è piena, anche se non si sa neanche cosa si è mangiato. Boris ci offre anche uno spaccato delle gerarchie, cosa per la quale un italiano ci si può facilmente identificare, specie se ha passato la sua giovinezza tra un tirocinio sottopagato e l'altro. La serie è chiara fin dal primissimo episodio: la varia fauna dello studio cinematografico ci viene svelata dall'arrivo del nuovo stagista, Alessandro, con l'ambizione di approdare a qualcosa di meglio in futuro. Le metafore zoologiche qui si sprecano: non solo si ripete varie volte che si è in una vera e propria giungla, ma la metafora del pesce, oggettivata da Boris, il pesce rosso di René, viene più volte suggerita implicitamente. È tutta una questione di pesci piccoli che vengono mangiati da pesci più grandi. Partendo con lo stagista-schiavo Lorenzo, che occupa il livello più basso della scala gerarchica.


Una calvizia che lascia suggerire come l'avanzamento di carriera prospettato da Alessandro è probabilmente una mera chimera, Lorenzo è più che altro un componente invisibile, che si nota solo quando la frustrazione, la rabbia dei piani alti deve sfogarsi da qualche parte, o quando lui stesso commette degli sbagli.


Un gradino più in su troviamo Biascica, il capo elettricista, con la sua immancabile berretta con la scritta Asshole (letteralmente "stronzo", ma probabilmente Biascica non sa cosa voglia dire).


Amante della Roma, è il Troisi illetterato della situazione: con evidenti difficoltà con il gentil sesso, spesso si ha l'impressione che lui stesso si percepisca come un elefante in una cristalleria. Afflitto da emicranie forti, si trova costretto a seguire un percorso psicoterapico, con scarsi risultati. Con lui collabora Duccio, il direttore della fotografia, abilissimo ad imboscarsi e a impelagarsi in loschi traffici di droga e altre merce da sottobanco, e ingaggiato da René proprio in ospedale, dove era stato ricoverato per overdose. Secondo lui, la fotografia di Occhi del cuore deve essere il più brutta possibile per far sì che la gente non cambi canale durante gli spot pubblicitari. Diciamo che tutto questo gli è congeniale nella sua attività di nullafacenza.


Arriviamo così a Itala, la segretaria di edizione, sempre seduta con la boccia di Boris davanti a sé, stoicamente placida, anche se con un niente si può infuriare. Assolutamente inutile, se non nel riportare a più miti consigli René e nel coinvolgere la troupe in esperimenti culinari o alcolici, comunque sulla scia delle uscite di René. Arianna (Caterina Guzzanti), l'aiuto-regista, si trova così sobbarcata di lavoro, che in parte delega ad Alessandro, in modo dittatoriale, in parte inficia la sua sfera privata.


I due si scopriranno innamorati nel corso delle stagioni, ma le loro posizioni interstiziali e al tempo stesso cruciali per l'andamento della baracca impediscono un vero e proprio avvicinamento. In questa scena esilarante, li vediamo entrambi all'opera.

Eccoci arrivati alle alte sfere di Boris: da una parte il regista, René, dall'altra Sergio, il direttore di produzione, e Lopez, il delegato di rete. Mentre Sergio è disposto a tutto pur di racimolare soldi, e Lopez è fondamentalmente viscido e compiacente per fare comunicare il più possibile la troupe con i dirigenti della rete, René è il personaggio che più di tutti amerebbe il suo lavoro e che si trova costretto ad abbassarsi di livello per accontentare la rete. Per questa ragione, è soggetto a innumerevoli scatti d'ira e ad una costante tensione e senso di frustrazione e vergogna. In questa fauna di personaggi borderline sempre sull'orlo del fallimento o dell'asocialità, l'umanità di René è forse quella che permette una maggiore empatia nello spettatore, specie nella sua fatica di destreggiarsi tra le pretese al limite della sanità mentale degli attori e il pressapochismo dei colleghi.


Boris regala momenti di irrefrenabile ilarità, complice anche l'impiego di ottimi comici nostrani come Corrado Guzzanti.


L'episodio più divertente in assoluto è quello sulla puntata di Occhi del cuore ambientata in Africa: il set viene trasformato in un improbabile villaggio con tutti i crismi dei peggiori stereotipi razzisti piuttosto datati, conditi con perle di assoluta follia. Non starei scrivendo questa rubrica se non credessi nella memorabilità di questa serie. Perciò, se non l'avete ancora vista, guardatela, anche alla cazzo di cane (per citare René), ma guardatela.

Serial Must - Boris

Mustaelide Leave a comment 44 views

"Because another different television, it's impossible! Hurrah for the shit!" Here, if you want a synthesis, to immediately get to the essence of Boris, this line told in the series is the most suitable to the case. Do you remember the summer evenings spent at grandma's house, absorbed in watching series as Un posto al sole (A place in the sun)? And you asked yourself what the hell found in it the grandmother, very intelligent woman in all the other areas of life, in a television series dripping with pathos and emptiness of contents? What would happen if, for case, had we the opportunnity to go behind the scenes of Un posto al sole (A place in the sun) and to find that the same director, producer, screenwriter even them consider the show a greatest crap for hardened homebodies? Boris is all this and even more.


A meta-series about Occhi del cuore (Eyes of the heart), that is an horrible medical drama. Not only the protagonists of Occhi del cuore (Eyes of the heart), the narcissus Stanis and the "bitch" (as is many times apostrophized behind her by the director René Ferretti) Corinna, in the class of the show for a range of knowledges and stables that have little to do with her (poor) acting capacity, they are laboriously borne by the rest of the crew, but the same screenwriters don't know which way to turn.


Or rather, they know very well how to spend the time working with the fooling around, but in the field of writing they are literally dry. But this is the philosophy of Boris: to bring home, to open all, just to go home and to get the pay. The quality becomes secondary, people just want the crap, yearns toward the mediocre, so just to follow the guidelines, how to cook something already ready, some approximate gesture and here, the belly is full, though you do not even know what you have eaten. Boris also offers to us a glimpse of the hierarchies, something for which an Italian can easily identify himself, especially if he has spent his youth among an underpaid internship and the other. The series is clear from the very first episode: the varied fauna of the film studio is revealed to us by the arrival of the new intern, Alessandro, with the ambition to arrive at something better in the future. Zoological metaphors here are wasted: not only it's repeated several times that you are in a real jungle, but the metaphor of the fish, objectified by Boris, goldish of René, it's several times implicitly suggested. It's all a question of small fishes that are eaten by larger fishes. Starting with the intern-slave Lorenzo, which occupies the lower level of the hierarchical scale.


A baldness that leaves to suggest how the career advancement proposed by Alessandro is probably a mere chimera, Lorenzo is more than anything else an invisible component, that is noticed only when the frustration, the anger of the high powers must let off steam somewhere, or when himself makes some mistakes.


A step up there is Biascica, the chief electrician, with his everpresent hat with the word Asshole (literally "stronzo" (asshole), but probably Biascica doesn't know what it means).


Supporter of A.S. Roma, he's like the Troisi illiterate of the situation: with obvious difficulties with the fair sex, often one gets the impression that he feel himself like an elephant in a crystalware. Afflicted by severe headaches, he's forced to follow a psychotherapeutic path, with poor results. With him collaborate Duccio, the director of photography, very able to ambush and becoming embroiled in shady drug deals and other goods from under counter, and hired by René just in hospital, where he was been hospitalized for overdose. In his opinion, the photography of Occhi del cuore (Eyes of the heart) must be the most ugly as possible to ensure that people don't change channel during the advertisements. Let's say that all this is congenial to him in his activities of lazyness.


So we arrive to Itala, the script supervisor, always sitting with the fishbowl of Boris in front of her, stoically calm, though she can infuriate with a nothing. Absolutely useless, if not in return to more moderate suggestions to René and to involve the crew in culinary or alcoholic experiments, however on the trail of the words of René. Arianna (Caterina Guzzanti), the first assistant director, is so encumbered of work, which in part delegates to Alessandro, in a dictatorial manner, in part affects hers private life.


The two will find out in love in the course of the seasons, but their interstitial positions and at the same time crucial for the evolution of the set prevent a true rapprochement. In this hilarious scene, we see them both during the work.

Here we are at the high spheres of Boris: from one part the director, René, from the other Sergio, the production manager, and Lopez, the delegate of network. While Sergio is willing to do anything to get money, and Lopez is basically slimy and complacent to do to communicate as much as possible the crew with network executives, René is the character that more than anyone would love his job and he's forced to reduce himself of level to satisfy the network. For this reason, he's subjected to numerous outbursts and to a constant tension and sense of frustration and shame. In this fauna of characters borderline always on the verge of the failure or of the asociality, the humanity of René is perhaps the one that allows a greater empathy in the viewer, especially in his struggle to juggle between the demands of the actors at the limit of the mental sanity and the carelessness of the colleagues.


Boris offers moments of unstoppable hilarity, also because of the use of excellent Italian comedians like Corrado Guzzanti.


The funniest episode ever is the one of the episode of Occhi del cuore (Eyes of the heart) set in Africa: the set is turned into an unlikely village with all the trappings of the worst racist stereotypes rather dated, topped with pearls of absolute madness. I would not be writing this column if I did not believe in the memorability of this series. Therefore, if you did not have seen it yet, watch it, even messily (to quote René), but watch it.

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S03E14

Because listen, Eyes of the heart is like the Colosseum. Old, decrepit, the pigeons defecate on it, but it's always there, and everybody look at it.
S02E05

Rule number 2. We need to make contact with the girl, talk to her. But never coming from behind, nor from the front, but from the side, cuttlefish.

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