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News 2018

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Give back Boris to us, the neorealism and the bitterness

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Aridatece Boris, il neorealismo e l'amarezza

by Cindy Lou

4 mesi fa

👁 200 Views

Boris


Boris è l'ultimo baluardo del vero neorealismo italiano, che racconta l'Italia quella vera, del proletariato e delle famiglie bene, degli arrampicatori sociali, dei soprusi e delle porte in faccia.

Tutti, nel loro piccolo, chi più e chi meno vivono sul bistrattare il sottoposto: dall'esempio più lampante, Biascica con 'o Schiavo (Lorenzo), a quello più sottile di Arianna e Alessandro. È su questi ingranaggi che si muove il set di Occhi del Cuore. Proprio grazie a questo Boris riesce a rappresentare perfettamente la società di tutti i giorni.



Prendiamo l'esempio di Biascica: per lui il suo schiavo è fondamentale. Tutti abbiamo, o vorremmo, un Lorenzo nella nostra vita, il nostro sacco da boxe. Ecco, Biascica svuota tutti i suoi istinti più primordiali e le sue insoddisfazioni su Lorenzo, cosa che, se potessimo, faremmo anche noi. Diciamola tutta, l'ultimo anello della catena alimentare ci sta discretamente sul c**zo; se non servisse per acquistare un po' di autostima, potremmo benissimo liberarcene e fare un favore a tutti. Biascica senza Lorenzo è solo un uomo tristemente mediocre e frustrato; grazie a lui, invece, riesce a trovare la forza per andare avanti ogni giorno: c'è qualcuno peggio di lui e se ne compiace. Tutti noi siamo Biascica e contemporaneamente Biascica rappresenta tutti noi.


Il sopraffare il nostro prossimo è l'istinto più animalesco e primordiale che possediamo. Nonostante i tentativi di repressione è lì, a covare dentro di noi. Boris ha la forza e il coraggio di mettere in scena quest'istinto in tutte le sue sfaccettature, addolcendolo con comicità. Sì, perché alla fine guardando Boris si ride, e anche molto, ma dopo un po' la risata si storce e diventa un ghigno, un sorriso amaro: l'ironia ariostesca nella sua forma più moderna e più pura. Boris riesce a disegnare uno spaccato sociale non indifferente, quello del ceto medio, e lo fa con un occhio cinico e attento a ogni minimo dettaglio: ed è questo a renderla la Serie italiana meno italiana (semicit.) che sia stata mai prodotta.



Oltre a questo, ogni personaggio risponde perfettamente a una categoria umana ben precisa. Abbiamo - giusto per citare qualche nome - Stanis, il maschio Alfa; René, il disilluso; Itala, la cinquantenne alcolista che rimpiange la sua gioventù; Biascica, il simbolo del vero proletariato romano, cresciuto a pane e Francesco Totti; poi c'è Arianna, la matriarca. Ultimo, ma non per importanza, Alessandro. Lui è il giovane sognatore che ancora non ha capito che questa vita non gli regalerà altro che insoddisfazione e che avrebbe fatto meglio a seguire il consiglio della madre che voleva iscriverlo a economia.


Alessandro è il vero protagonista di Boris. Con la sua spoglia personalità, ci racconta perfettamente la generazione posta a cavallo tra gli e i , quella che subisce le scelte pessime della generazione precedente ma che non riesce a stare al passo con la nuova.

Lo stagista più amato della Tv vive un'esistenza in stallo, tra stanze in affitto, cibi in scatola del discount e una marea di desideri irrealizzabili. Corre continuamente annaspando verso una meta che effettivamente non esiste; si trova catapultato in un mondo e in una serie di ruoli che in fin dei conti sono tutto e sono niente. E così acchiappa quel che può, vivendo nell'ideale del giovane artista squattrinato.



È bello riempire le proprie giornate con parole vivaci sul cinema, la musica, le sette arti liberali, la grammatica e la retorica, ma di tutti questi sogni cosa resta? Un mucchietto di polvere sparso sul pavimento. Un mucchietto di velleità che alla lunga, tristemente, ti rende allergico e insofferente.

Give back Boris to us, the neorealism and the bitterness

by Cindy Lou

4 months ago

👁 200 Views

Boris


Boris is the last bulwark of true Italian neorealism, which tells the real Italy, the one of the proletariat and of the rich families, of the social climbers, of the abuses and of the kicks in the eye.

Everyone, in their own way, who more and who less lives to mistreat his subordinate: from the most obvious example, Biascica with the slave (Lorenzo), to the subtler one by Arianna and Alessandro. It's on these gears that moves the set of The eyes of the heart. Thanks to this Boris manages to perfectly represent the society of every day.



Let's consider the example of Biascica: his slave is fundamental for him. We all have, or we would like, a Lorenzo in our life, our punching bag. Here, Biascica dumps all his most primal instincts and his dissatisfactions on Lorenzo, which, if we could, we would do too. Let's say it all, the last link in the food chain is discreetly fu**ing with us; if he weren't necessary to get a bit of self-esteem, we could very well get rid of him and to do everyone a favor. Biascica without Lorenzo is only a man who is sadly mediocre and frustrated; thanks to him, instead, he manages to find the strength to go forward every day: there is someone worse than him and he welcomes it. All of us are Biascica and at the same time Biascica represents all of us.


The overwhelming of our neighbor is the most animalistic and primal instinct we possess. Despite the attempts of repression is there, to hatch inside us. Boris has the strength and the courage to stage this instinct in all its facets, sweetening it with comicality. Yes, because in the end watching Boris you laugh, and also a lot, but after a while the laughter twists and becomes a sneer, a bitter smile: Ariosto-style irony in its most modern and purest form. Boris manages to draw a not indifferent social glimpse, the one of the middle class, and it does so with a cynical eye and attentive to every detail: and this is what makes it the Italian Series less Italian (semi quote) that has ever been produced.



In addition to this, each character responds perfectly to a very specific human category. We have - just to mention some names - Stanis, the Alpha male; René, the disillusioned; Itala, the fifty-year-old alcoholist who regrets hers youth; Biascica, the symbol of the true Roman proletariat, raised on bread and Francesco Totti; then there's Arianna, the matriarch. Last, but not least, Alessandro. He's the young dreamer who still has not understood that this life will give him nothing but dissatisfaction and that he would have done better to follow the advice of his mother who wanted to enroll him in Faculty of Economics.


Alessandro is the true protagonist of Boris. With his bare personality, he perfectly tells us about the generation born between the and , the one that suffers the bad choices of the previous generation but who can not keep up with the new one.

The intern most loved of the TV lives an existence that has reached deadlock, between rent rooms, canned goods from discount and a multitude of unrealizable desires. He runs continuously struggling towards a goal that actually doesn't exist; he finds himself catapulted into a world and into a series of roles that ultimately are everything and are nothing. And so he catches what he can, living in the ideal of the young penniless artist.



It's nice to fill its own days with lively words about the cinema, the music, the seven liberal arts, the grammar and the rhetoric, but what is left of all these dreams? A small pile of dust scattered on the floor. A small pile of ambitions that in the long run, sadly, makes you allergic and intolerant.

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Random meme

S03E11

The Network has no interest that Medical Dimension is a success. On the contrary! It has an interest that it goes bad! Medical Dimension was even born to go bad!
S01E13

Stanis, when you want, you know that I am, I really like black.

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