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News 2018

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Considerations not little Italian about Boris (and Scrubs)

| Birdmenmagazine.com

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| By Demetrio Marra

Considerazioni non poco italiane su Boris (e Scrubs)



Se il titolo è fin troppo italiano, il contenuto dell'articolo vuol essere invece transeuropeo, oltreoceanico: Alessandro è il nuovo stagista scelto per l'aiuto-regia sul set di Gli occhi del cuore 2, sit-com di chiara peninsularità. Nella concessione intenzionale di un episodio pilota di Boris che presenti un piano superficiale di tutti i personaggi, Alessandro è su un rollercoaster, sminuito ed entusiasmato, miscomprende in pratica tutto ciò che viene detto e fatto: incontra un attimo prima della sigla di Elio il delegato di produzione Sergio (Alberto Di Stasio) che lo manda affanculo; e poi, ad un passo da René Ferretti (Francesco Pannofino) intento a oracolare assieme al pesce rosso Boris, è catturato dall'aiuto-regia Arianna (Caterina Guzzanti). E ancora: tutta la troupe si raduna attorno a Lopez (Antonio Catania), il delegato di rete incaricato spessissimo di discorsi motivazionali dai dubbi risultati e dalla dubbia retorica. E così via, fino a Corinna (Carolina Crescentini), la star per caso e per raccomandazione dell'intera serienellaserie, fino agli episodi dell'Africa.


Boris (-) - su soggetto di Luca Manzi e Carlo Mazzotta, e sceneggiatura di Giacomo Ciarrapico, Mattia Torre e Luca Vendruscolo - durante tutta la messa in onda e la splendida e direi autoironica scalata verso il successo attraverso la pirateria (perché sì, se tramite la Fox la serie ha raggiunto “solo” 1/5 degli spettatori di un Lost qualunque, la fortuna arriva proprio da lì - dal min. 7 dell'intervista di Wired) ha di fatto voluto riferirsi ad altri prodotti cinematografici e televisivi, nostop, non unicamente per “omaggiare” (che è verbo-azione chiave nella serie) ma per instaurare un rapporto di parodia, che, precisando, nel suo essere fondamentalmente dialettica non può che insistere sul rapporto genetico tra serie che parodizza e serie che viene parodizzata. Se un articolo di ricerca delle fonti sarebbe assurdo e illeggibile, un saggio brevissimo del rapporto si potrebbe azzardare “filiale” tra Boris e Scrubs (-), serie ideata da Bill Lawrence, può farsi interessante. Soprattutto se quest'ultima ha fin da subito creato il medesimo rapporto con uno spettro archetipico di tutto rispetto. La prima pubblicità in onda, secondo Wikipedia, reciterebbe: «Più clinico di ER, più cinico di Ally McBeal, più piccante di Sex and the City, più frizzante di Friends». Per Er - medici in prima linea, Scrubs - medici ai primi ferri ha una vera ossessione antinomica: ribaltare, dare uno scarto che sia al contempo parodia, omaggio, distacco autoriale, fin dal sottotitolo.



Entrambi gli episodi delle prime stagioni si intitolano “Il mio primo giorno”, annunciando (e via via disattendendo) che la soggettiva sarà dello specializzando da un lato, dello stagista dall'altro. E così dunque: Lopez coi suoi discorsi motivazionali si carica del ruolo di Kelso, primario apparentemente angelico; Biascica (Paolo Calabresi), capo elettricista - colle inquadrature classiche dall'alto verso il basso e viceversa (con la scala strumento di mestiere a motivazione e per la naturale altezza del personaggio) che lo avvantaggiano sempre su Alessandro - riprende l'inserviente, il meraviglioso Neil Flynn, graziato dalla morsa del copione canonico e incaricato di una improvvisazione continua (e a volte forse lo stesso Calabresi sembra agire su un canovaccio); ma in realtà tutta la costellazione dei personaggi sembra in un modo o nell'altro prestare un occhio a Scrubs, non sempre per dipendenza diretta ma di sicuro per allusione (non si faccia l'errore di radicalizzare un assunto, la pretesa di scovare dei legami diretti o obliqui tra serie televisive può e deve essere l'occasione di ulteriori letture, non l'occasione di screditare o accreditare un prodotto anziché un altro): ultimo esempio, pensiamo a Ted (Sam Lloyd), l'avvocato dell'ospedale, e Lorenzo, meglio conosciuto come lo stagista schiavo, interpretato da Carlo De Ruggeri.


Per Stanis La Rochelle (Pietro Sermonti) il discorso si infittisce, perché il personaggio si nutre senza alcun dubbio della logorroicità del Dott. Cox - investendo assieme agli altri Alessandro di una serie infinita di soprannomi: Seppia, Merda (by Biascica), Fabrizio e altri nomi maschili (by René) e talvolta anche femminili (by Valerio) - e soprattutto del suo egocentrismo, con ribaltamento, perché la differenza qualitativa (di vestibilità del mestiere diegetico) è enorme; ma Sermonti ribalta anche se stesso, riuscendo a riscriversi carriera attoriale e a tratti vita privata. Entrambi (Stanis e Pietro) hanno perfezionato i propri studi all'estero ma sono tornati in Italia a recitare; per Stanis è l'occasione per ergersi curricularmente sopra gli altri, nonostante la mediocrità delle sue prestazioni (in realtà col passare delle stagioni smussata) e per manifestare il proprio dissenso verso l'italianità (difesa, potrebbe dirsi, a tratti da furor di attori secondari, quali per esempio Marco Giallini in Valerio, che in risposta alla domanda di Alessandro: ma è metodo Stanislavskij? risponde: No, è il metodo de li cazzi mia): indimenticabile la puntata 8 della seconda stagione, durante la quale Stanis intrattiene un dialogo-monologo con il regista Wim Wenders, presunto amico invitato sul set (per messaggio gli scrive: thank you to be so not italian). Tornando un periodo indietro, Stanislavskij è anche l'ispirazione del nome d'arte, chiamandosi il personaggio della serie in realtà Enzo Facchetti. E ancora, Sermonti ha recitato per Un medico in famiglia: il suo personaggio subentra durante la terza stagione, si innamora di Maria Martini, interpretata da Margot Sikabonyi, con la quale (ma i gossip ci interessano pochissimo) anche fuori dalla serie ha avuto una relazione. Ebbene, l'attrice in Boris è la fidanzata, lontana, di Alessandro, per la quale Stanis prova un'attrazione immediata e travolgente. V'è un concorso di autoironia strabiliante. E infine, lasciando al lettore il gioco di districare altre possibili fila, quando Gli occhi del cuore 2 sembrano destinati alla chiusura - con René “politicamente” in bilico, costretto a girare la scena dell'attentato - Stanis sfrutta i suoi avvocati per evitare di morire e salvarsi miracolosamente. Volessimo tornare per un secondo al Medico in famiglia, potremmo rifarci al suo abbandono volontarissimo alla serie (per il rischio di ridursi, come attore, al solo Guido Zanin), perpetuato con la messa in scena di un incidente d'auto.



Tornando alla traiettoria Scrubs-Boris, la questione riguarda anche la costruzione di ambienti e la disposizione ab ovo comica degli esistenti. E a seguire: l'utilizzo di motivi musicali standard per transizioni e “momenti tristi”: il famosissimo Tadatadatadattatta di JD, potrebbe dirsi ripreso metodologicamente dalla colonna sonora di Taviani e Travia, onnipresente. E su tutti, oltre il citazionismo già menzionato, l'utilizzo di Cameo come surplus comico e di senso (e l'utilizzo del sottotipo di cameo quale la menzione diretta o indiretta di personaggi pubblici): in Scrubs Collin Farrel, Billie Dee Williams, Dick Van Dyke, e su tutti - per lo scrivente forse - Michael J. Fox direttamente dal futuro, nei panni del Dr. Kevin, manicheisticamente frapposto a Cox con numerose implicazioni. In Boris: il gorilla del Crodino, Giubilei nei panni di sé che legge le telenotizie, Valerio Mastrandrea, Giorgio Tirabassi, Sergio Brio e in apice Paolo Sorrentino, in Nella rete, stagione terza, terzultimo episodio: il regista, sul set per convincere Fabiana (Angelica Leo) ad abbandonare Medical Dimension per il suo prossimo film, viene accolto più volte come il regista di Gomorra. Per il misunderstanding si permette di punzecchiare Garrone: è quello basso, sta perdendo pure i capelli. Per non parlare della prestazione eccelsa di Corrado Guzzanti nel doppio ruolo - autoconclusosi con un omicidio praticamente allo specchio nell'ep. finale della seconda stagione - di Mariano e dell'agente di Mariano, legato alla Camorra.



Basterebbe attenersi alla rivelazione fatta durante la 3a Stagione, per cui Medical Dimension - la serie che René sta girando dopo aver rifiutato di continuare Gli occhi del cuore - sarebbe ispirata a una serie popolare americana per chiudere l'articolo, ma un ultimo dettaglio sembra fondamentale: Alessandro ammette, oramai a conclusione di serie, di tenere un diario, nel quale ha appuntato anche qualcosa dell'amore per Arianna. Per i fan di Scrubs il collegamento è immediato: quale oggetto è più significativo? Considerando anche la voce di JD a guidare ogni singolo episodio?

| By Demetrio Marra

Considerations not little Italian about Boris (and Scrubs)



If the title is too Italian, the content of the article wants to be instead trans-European, overseas: Alessandro is the new intern chosen as second assistant director on the set of Gli occhi del cuore 2 (The eyes of the heart 2), sit-com clearly Italian. In the intentional grant of a pilot episode of Boris that presents a superficial plan of all the characters, Alessandro is on a rollercoaster, diminished and enthusiastic, he misunderstands in practice everything that is said and done: he meets a moment before the opening sequence of Elio (Elio e le storie tese) the delegate of production Sergio (Alberto Di Stasio) who sends him to fuck off; and then, a step away from René Ferretti (Francesco Pannofino) focused to predict together with the goldfish Boris, he's captured by the first assistant director Arianna (Caterina Guzzanti). And also: the whole troupe gathers around Lopez (Antonio Catania), the delegate of the network designated very often of motivational speeches with dubious results and dubious rhetoric. And so on, until Corinna (Carolina Crescentini), the star by chance and by the recommendation of the whole series in the series, up to the episodes of the Africa.


Boris (-) - on the subject of Luca Manzi and Carlo Mazzotta, and screenplay by Giacomo Ciarrapico, Mattia Torre and Luca Vendruscolo - during the whole airing and the splendid and I would say self-ironic climbing to success through the piracy (because yes, if through Fox the series has reached “only” 1/5 of the viewers compared to Lost, the luck comes right from there - from the min. 7 of the interview by Wired) has actually wanted to refer to other cinematographic and televisive products, nostop, not just for “paying homage” (which is a key verb-action in the series) but to establish a relationship of parody, which, by clarifying, in its being essentially dialectical it can not but insist on the genetic relationship between the parodying series and the series that is parodied. If an article searching for sources would be absurd and illegible, a very brief essay on the relationship could be hazarded “branch” between Boris and Scrubs (-), series created by Bill Lawrence, can be interesting. Especially if the latter has immediately created the same relationship with an archetypal specter of all respect. The first spot on the air, according to Wikipedia, would say: «More clinical than ER, more cynical than Ally McBeal, more spicy than Sex and the City, more lively than Friends». For Er - medici in prima linea (ER), Scrubs - medici ai primi ferri (Scrubs) has a true antinomian obsession: to overturn, to give a gap that is at the same time parody, homage, authorial detachment, from the subtitle.



Both the episodes of the first seasons are called “My first day”, announcing (and gradually disregarding) that the subjective will be of the resident from one side, of the intern from the other. And so therefore: Lopez with his motivational speeches assumes the role of Kelso, apparently angelic primary; Biascica (Paolo Calabresi), chief electrician - with classic shots from top to bottom and vice versa (with the ladder craft tool for motivation and for the natural height of the character) which always favors him on Alessandro - recalls the attendant, the wonderful Neil Flynn, pardoned by the grip of the canonical script and in charge of a continuous improvisation (and sometimes perhaps Calabresi himself seems to play on a canvas); but in reality the whole constellation of the characters seems in one way or another to pay attention to Scrubs, not always by direct dependence but certainly by allusion (don't make the mistake of radicalizing an assumption, the claim to find direct or oblique links between television series can and should be the occasion for further readings, not the opportunity to discredit or credit a product instead of another): last example, let's think of Ted (Sam Lloyd), the hospital lawyer, and Lorenzo, better known as the slave intern, played by Carlo De Ruggeri.


For Stanis La Rochelle (Pietro Sermonti) the speech thickens, because the character is nourished without any doubt of the verboseness of the Doc. Cox - hitting along with the others Alessandro with an endless series of nicknames: Seppia (Cuttlefish), Merda (Shit) (by Biascica), Fabrizio and other male names (by René) and sometimes even women (by Valerio) - and above all of his egocentricity, with overturning, because the qualitative difference (of wearability of the diegetic craft) is enormous; but Sermonti also overturns himself, succeeding in rewriting career acting and sometimes private life. Both (Stanis and Pietro) have perfected their studies abroad but have returned to Italy to act; for Stanis is an opportunity to rise up curricularly above the others, despite the mediocrity of his performances (in reality over the seasons is soften) and to express their dissent towards the Italian-style (defense, it could be said, sometimes from the fury of secondary actors, such as for example Marco Giallini in Valerio, that in answer to the question of Alessandro: but is it the Stanislavskij's method? he answers: No, it's my fucking method): unforgettable the episode 8 of the second season, during which Stanis entertains a dialogue-monologue with the director Wim Wenders, supposed friend invited on the set (he writes to him a message: thank you to be so not Italian). Returning a period back, Stanislavskij is also the inspiration of the stage name, considering that the character of the series in reality is called Enzo Facchetti. And still, Sermonti has played in Un medico in famiglia (A Doctor in the Family - Original format: Médico de familia): his character takes over during the third season, falls in love with Maria Martini, played by Margot Sikabonyi, with whom (but the gossip interest very little to us) even outside the series has had a relationship. Well, the actress in Boris is the girlfriend, far away, of Alessandro, for which Stanis feels an immediate and overwhelming attraction. There is a competition of astonishing self-irony. And finally, leaving the game to extricate other possible plots, when Gli occhi del cuore 2 (The eyes of the heart) seems destined for closure - with René “politically” hanging in the balance, forced to shoot the scene of the attack - Stanis uses his lawyers to avoid dying and miraculously save himself. If we wanted to come back for a second speaking about Medico in famiglia (A Doctor in the Family - Original format: Médico de familia), we could refer to his voluntary abandonment to the series (for the risk of being reduced, as an actor, to the only one Guido Zanin), perpetuated with the staging of a car accident.



Returning to the trajectory Scrubs-Boris, the question also concerns the construction of environments and the arrangement ab ovo comic of the existing ones. And to follow: the use of standard musical motifs for transitions and “sad moments”: the very famous Tadatadatadattatta of JD, it could be said to have been methodologically resumed from the soundtrack by Taviani and Travia, ubiquitous. And above all, beyond the quotationism already mentioned, the use of Cameo as comic surplus and of sense (and the use of the cameo subtype as the direct or indirect mention of public figures): in Scrubs Collin Farrel, Billie Dee Williams, Dick Van Dyke, and above all - for the writer perhaps - Michael J. Fox directly from the future, in the role of Dr. Kevin, interposed to Cox with numerous implications. In Boris: the gorilla of the Crodino, Giubilei in the role of himself reading the news, Valerio Mastrandrea, Giorgio Tirabassi, Sergio Brio and in apex Paolo Sorrentino, in Nella rete (In the network), third season, third last episode: the director, on the set to convince Fabiana (Angelica Leo) to abandon Medical Dimension for his next movie, is welcomed several times as the director of Gomorra (Gomorrah). Because of the misunderstanding he allows to tease Garrone: he's the low one, he's also losing his hair. Not to mention the excellent performance of Corrado Guzzanti in the double role - self-ended with a murder practically in the mirror in the final episode of the second season - of Mariano and of the agent of Mariano, connected to the Camorra.



It would be enough to abide by the revelation made during the third season, for which Medical Dimension - the series that René is shooting after having refused to continue Gli occhi del cuore (The eyes of the heart) - would be inspired by a popular American series to close the article, but one last detail seems fundamental: Alessandro admits, by now at the end of series, to keep a diary, in which he also wrote something of the love for Arianna. For the fans of Scrubs the connection is immediate: which object is most significant? Considering also the voice of JD to narrate every single episode?

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