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News 2018

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From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public

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CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 01 CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 02 CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 03 CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 04 CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 05 CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 06 CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 07 CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 08 CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 09 CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 10 CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 11 CiakClub.it - Article - From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public - Page 12

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Da Boris a La linea verticale: quando la serie italiana funziona e piace al pubblico

Da Mariangela Carbone - 👁 15790

La linea verticale è la serie tv Rai scritta da Mattia Torre, uno dei creatori della serie cult Boris. Due esempi di serialità italiana di qualità.


La linea verticale è una mini serie tv composta da 8 episodi, di 25 minuti ciascuno, disponibile in streaming su Rai Play a partire dal e andata in onda dal al su Rai 3. Basata sull'omonimo libro scritto da Mattia Torre e pubblicato da Baldini&Castoldi, la serie ha come protagonista Luigi (Valerio Mastandrea), un quarantenne padre di una bambina di sette anni e in attesa di un altro figlio dalla moglie Elena (Greta Scarano). A Luigi viene diagnosticato un inaspettato tumore al rene, così viene ricoverato presso il reparto di urologia dell'ospedale italiano dove poi verrà operato: dall'oggi al domani la sua vita cambia.


Accanto all'attore romano - bravissimo ad interpretare il ruolo con quel suo sguardo di malinconica tenerezza che rivolge allo spettatore fin dalla sigla di apertura - recita un cast di tutto rispetto, composto da Babak Karimi, Giorgio Tirabassi, Paolo Calabresi, Ninni Bruschetta, Alvia Reale, Antonio Catania, Cristina Pellegrino, Federico Pacifici, Elia Schilton e Gianfelice Imparato.



Gli spettatori dalla buona memoria noteranno che nel cast ritornano molti nomi di attori che hanno già recitato in Boris, l'amatissima serie prodotta da Wilder per Fox International Channels Italy e andata in onda dal 2007 al 2010 per tre stagioni consecutive, cui poi ha fatto seguito il film omonimo per il grande schermo.

A far ritorno dall'universo di Boris non sono soltanto diversi attori (Paolo Calabresi, Ninni Bruschetta, Antonio Catania, Giorgio Tirabassi), ma anche e soprattutto Mattia Torre, qui mente creativa che scrive e dirige l'intera stagione e che in Boris era sceneggiatore e regista insieme a Giacomo Ciarrapico e Luca Vendruscolo.


L'idea di realizzare La linea verticale nasce da un'esperienza autobiografica di Mattia Torre, che ha vissuto in prima persona una vicenda analoga a quella del protagonista Luigi e ha sentito l'esigenza di creare, a modo proprio, un atipico racconto della malattia.

Nella sua serie televisiva l'ospedale viene ritratto come un luogo di inevitabile sofferenza, ma anche come spazio vitale, come teatro di solidarietà e di umana comprensione, come ambiente da cui poter imparare preziose lezioni di vita.



La televisione italiana si era già addentrata nella realtà degli ospedali in diverse occasioni, ad esempio con Medicina generale o Braccialetti rossi. Ma con La linea verticale siamo di fronte a un medical dramedy sui generis, che lascia da parte il buonismo e la drammaticità che si presterebbero ad un'ambientazione ospedaliera, e sviluppa un racconto di episodi sì tragici e dolorosi collegati alla malattia, ma sceglie di svilupparlo attraverso il filtro della commedia. L'esperimento è riuscito e il risultato finale assolutamente convincente.


La serie targata Rai racconta più dell'Italia, e in particolare della sanità pubblica italiana, di quanto non riuscirebbe a fare un documentario. Come afferma lo stesso autore, «La Linea Verticale è lo stare in piedi. È aggrapparsi alla vita. Ho provato a raccontare la malattia come crisi, ma anche come occasione di crescita, di costruzione e di riscatto. Ha un taglio molto personale e libero. È stata una mia tappa sorprendente. [...] L'ospedale da fuori è tormentato, un luogo di sofferenza, ma anche paradossalmente molto vitale che ti salva la vita, soprattutto quando è capitanato da un chirurgo appassionato, umano e attaccato al suo lavoro».


Il microcosmo del reparto di un ospedale diventa così un palcoscenico, in cui Luigi (e lo spettatore con lui) assiste quotidianamente alla vita di medici, infermieri, pazienti e parenti, tutte categorie umane ritratte con delicatezza e precisione, ognuna con le proprie caratteristiche distintive. Nel reparto la vita va avanti tra gioie e dolori, paure e speranze, in una realtà dove sembra possibile vivere il dolore senza dimenticare la tragicomicità che attraversa non solo la malattia, ma la vita di ognuno di noi.



Quelli che popolano La linea verticale sono tutti personaggi profondamente umani, ognuno con paure, difetti e debolezze, tranne il chirurgo Zamagna, una sorta di divinità, una figura mitologica, mezzo uomo e mezzo dio, il migliore nel suo campo, che appare anche in sogno a Luigi, pronto a consolarlo e a dargli coraggio.

Personaggi umani, dunque, a cui ci si affeziona. Proprio come accade quando ci capita di condividere la stanza in ospedale con altri pazienti e con essi finiamo per essere confidenti, consiglieri, compagni di piccole gioie e dolori quotidiani.


I medici che ascoltano distrattamente le richieste del paziente e, qualunque problema abbia, dicono che è colpa dei vasi e che se vuole guarire deve metterci la testa. L'infermiera filippina che si autobattezza Filippa, perché sa che l'avrebbero chiamata tutti così, perché gli italiani sono un popolo semplicistico. Il paziente Amed, considerato da tutti un migrante, nonostante parli un impeccabile italiano e gestisca un negozio di antiquariato in Via dei Coronari. Il paziente proprietario di una trattoria, che teme di dover diventare vegano. Il prete del reparto che prima dispensa consigli a tutti e poi, dopo la scoperta della malattia, si mostra vulnerabile e spaventato, con tanto di crisi spirituale, come Ratzinger che un giorno si è svegliato e ha detto: “Boh!”. L'infermiere che si rivolge al prete e gli dice “E mo a te chi te consola?”. Queste sono solo alcune delle figure cui Luigi si imbatte durante la sua permanenza in ospedale, che viene commentata e raccontata facendo ricorso, in ogni episodio, a una voice-over densa di ironia.


Lo sguardo ironico è proprio uno degli ingredienti vincenti di questa serie: finalmente una fiction coraggiosa e innovativa, che ha saputo osare proponendo al pubblico qualcosa di diverso, un mix di elementi convincenti che avevamo già visto forse solo nella famosa serie con il pesciolino rosso.



I fan di Boris ricorderanno una delle frasi più significative, pronunciata da Lopez, il delegato di rete, durante un dialogo con René Ferretti: «In Italia una fiction diversa, oggi, non solo non è possibile, ma non è neanche augurabile. Non la vuole nessuno una fiction diversa».

L'accoglienza che La linea verticale ha riscontrato da parte del pubblico italiano dovrebbe spingerci a credere che Lopez aveva torto. Per citare solo i primi due episodi, sono stati visti da oltre 1 milione 600 mila spettatori con uno share del 7,2%, ben superiore alle medie della rete.

Ecco la dimostrazione che il pubblico non cerca necessariamente sparatorie o innamoramenti e trame melense, ma soltanto personaggi credibili, che prendano vita da un testo scritto con abilità e spirito innovativo e siano inseriti in un universo narrativo ben costruito.

La linea verticale si inserisce così pienamente all'interno del percorso già tracciato da Boris: potendo vantare una sceneggiatura di qualità, che riesce a dipingere situazioni e personaggi surreali quanto realistici, la serie scritta e diretta da Mattia Torre ha tutte le carte in regola per permetterci di gridare a gran voce “Non è vero che la qualità ci ha rotto il cazzo”, a differenza di quanto andava sostenendo René Ferretti.



Non è un caso infatti che a creare La linea verticale sia stata una delle menti che, ormai più di dieci anni fa, diedero vita alla serie di culto Boris.

Boris rappresenta un unicum nel panorama televisivo italiano. Non solo ha ottenuto un vasto e diffuso successo di pubblico ed è stata ampiamente apprezzata dalla critica, ma il successo che ha ottenuto è stato - e continua ad essere - duraturo nel tempo. La serie ha conquistato una tale popolarità che ancora oggi siamo tutti a dire, sui social network e non, Dai, dai, dai!, Smarmella, Apri tutto.


La serie con Valerio Mastandrea e quella con Francesco Pannofino hanno molto in comune: innanzitutto l'efficacia della scrittura e la bravura del cast, ma anche l'unione di cinismo e ironia, l'umorismo e l'irriverenza, la compresenza di realismo ed elementi surreali, e, non ultima, la forte attualità. Allora si criticava e si sfotteva senza alcuna pietà la televisione italiana, partendo dall'ambientazione in un fittizio set televisivo italiano; adesso si racconta in maniera sincera e ironica il mondo della sanità italiana, ma anche un paese intero che fatica a rinunciare ai propri vizi e alle proprie abitudini, soprattutto alimentari.


Si tratta di due casi isolati in un panorama televisivo destinato al grigiore di trame trite e ritrite? O due esempi di come una televisione di qualità riesca a trovare ampio favore del pubblico? Secondo noi, il successo di Boris prima e de La linea verticale dopo sono la dimostrazione che una serialità italiana diversa è possibile e auspicabile.

From Boris to La linea verticale (The vertical line): when the Italian series works and is liked by the public

by Mariangela Carbone - 👁 15790

La linea verticale (The vertical line) is the Rai tv series written by Mattia Torre, one of the creators of the cult series Boris. Two examples of Italian seriality of quality.


La linea verticale (The vertical line) is a mini Tv series consisting of 8 episodes, of 25 minutes each, available in streaming on Rai Play from and aired from to on Rai 3. Based on the homonymous book written by Mattia Torre and published by Baldini&Castoldi, the series has as protagonist Luigi (Valerio Mastandrea), a forty-year-old father of a seven-year-old girl and expecting another child from his wife Elena (Greta Scarano). Luigi is diagnosed with an unexpected kidney tumor, so he's admitted to the urology department of the Italian hospital where he will be operated: from one day to the next, his life changes.


Next to the Roman actor - very good at interpreting the role with his look of melancholy tenderness that addresses the viewer since the opening sequence - plays a cast of all respect, composed of Babak Karimi, Giorgio Tirabassi, Paolo Calabresi, Ninni Bruschetta, Alvia Reale, Antonio Catania, Cristina Pellegrino, Federico Pacifici, Elia Schilton and Gianfelice Imparato.



The viewers with a good memory will notice that in the cast there are many names of actors who have already played in Boris, the very beloved series produced by Wilder for Fox International Channels Italy and aired from to for three consecutive seasons, followed by the eponymous movie for cinema.

To return from the universe of Boris aren't just several actors (Paolo Calabresi, Ninni Bruschetta, Antonio Catania, Giorgio Tirabassi), but also and above all Mattia Torre, here creative mind that writes and directs the entire season and that in Boris was screenwriter and director with Giacomo Ciarrapico and Luca Vendruscolo.


The idea to realize La linea verticale (The vertical line) comes from an autobiographical experience of Mattia Torre, who has lived in first person a story similar to the one of the protagonist Luigi and he has felt the need to create, in his own way, an atypical tale of the disease.

In his television series the hospital is portrayed as a place of inevitable suffering, but also like vital space, as theater of solidarity and of human understanding, as an environment from which to learn precious lessons of life.



The Italian television had already entered the reality of the hospitals on several occasions, for example with Medicina generale (Internal medicine) or Braccialetti rossi (Red Band Society - Original format: Polseres Vermelles). But with La linea verticale (The vertical line) we are in front of a medical dramedy sui generis, that leaves aside the goodness and drama that would be typical of a hospital setting, and it develops a story of such tragic and painful episodes related to the disease, but it chooses to develop it through the comedy filter. The experiment was successful and the final result was absolutely convincing.


The Rai series tells more about Italy, and in particular about Italian public health, that it would be able to make a documentary. As stated by the same author, «La Linea Verticale (The vertical line) is the stand. It's clinging to life. I have tried to tell the disease as crisis, bul also as opportunity for growth, construction and redemption. It has a very personal and free style. It has been an amazing phase. [...] The hospital from outside is tormented, a place of suffering, but also paradoxically very vital that saves your life, especially when it's led by a passionate, human surgeon and attached to his work».


The microcosm of the department of a hospital thus becomes a stage, in which Luigi (and the spectator with him) attends the daily lives of doctors, nurses, patients and relatives, all human categories portrayed with delicacy and precision, each with their own distinctive features. In the department life goes on between joys and sorrows, fears and hopes, in a reality where it seems possible to live the pain without forgetting the tragicomedy that goes through not only the disease, but the life of each of us.



Those that populate La linea verticale (The vertical line) are all deeply human characters, each with fears, faults and weaknesses, except the surgeon Zamagna, a sort of divinity, a mythological figure, half man and a half god, the best in his field, which also appears in Luigi's dream, ready to comfort him and give courage to him.

Human characters, therefore, to which we become attached. Just as it occurs when it happens to us to share the room in hospital with other patients and with them we end up being confident, advisers, companions of small joys and daily pains.


The doctors that listen distractedly to the patient's requirements and, for any problem, they say it's fault of the vessels and that if he wants to heal he has to put his head on it. The Filipina nurse who self-baptize Filippa, because she knows that everybody would call her so, because Italians are a people simplistic. The patient Amed, considered by all a migrant, despite he speaks an impeccable Italian and manages an antique shop in Via dei Coronari (Coronari street). The patient owner of a restaurant, who fears having to become a vegan. The priest of the department who first dispenses advices to everyone and then, after the discovery of the disease, shows himself vulnerable and frightened, with a spiritual crisis, as Ratzinger that one day woke up and said: “Boh!” (I don't know!). The nurse who speaks to the priest and tells him “And now who comforts you?”. These are just some of the figures that Luigi encounters during his stay in the hospital, that is commented and told using, in each episode, a voice-over dense with irony.


The ironic look is just one of the winning ingredients of this series: finally a courageous and innovative drama, who has been able to dare by offering the public something different, a mix of convincing elements that we had already seen perhaps only in the famous series with the little goldfish.



Boris' fans will remember one of the most significant phrases, pronunced by Lopez, the network delegate, during a dialogue with René Ferretti: «In Italy a different drama, today, not only is not possible, but it's not even desirable. No one wants a different drama».

The reception that La linea verticale (The vertical line) has found by the Italian public should push us to believe that Lopez was wrong. To quote only the first two episodes, they were seen by over 1 million 600 thousand viewers with a share of 7.2%, well above the average of the network.

Here is the demonstration that the public doesn't necessarily look for shootings or falls in love and silly plots, but only credible characters, that take life from a text written with skill and innovative spirit and are inserted into a well-constructed narrative universe.

La linea verticale (The vertical line) fits so fully within the path already traced by Boris: being able to boast a quality screenplay, that manages to stage situations and surreal characters as realistic, the series written and directed by Mattia Torre has all the right qualities to allow us to shout loudly “It's not true that the quality has fucked with us”, unlike what René Ferretti was supporting.



It's not a case in fact that to create La linea verticale (The vertical line) was one of the minds that, more than ten years ago, gave birth to the cult series Boris.

Boris represents an unicum in the Italian television scene. Not only it has achieved a vast and widespread public success and it has been widely appreciated by critics, but the success which it got has been - and it continues to be - lasting over time. The series has gained such popularity that even today we are all to say, on social networks and not, Come on, come on, come on!, Open all the light, Open all.


The series with Valerio Mastandrea and the one with Francesco Pannofino have a lot in common: first of all the effectiveness of the writing and the skill of the cast, but also the union of cynicism and irony, the humor and the irreverence, the coexistence of realism and surreal elements, and, not last, the strong actuality. Then it was criticized and unleashed without any mercy the Italian television, starting from the setting in a fictitious Italian TV set; now the Italian healthcare world is told in a sincere and ironic way, but also an entire country that struggles to renounce its vices and its habits, especially the eating ones.


Are we dealing with two isolated cases in a television scene destined to the grayness of trite plots? Or two examples of how a quality television is able to find wide public favor? In our opinion, the success of Boris before and of La linea verticale (The vertical line) after are the proof that a different Italian seriality is possible and desirable.

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