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News 2018

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Boris - The movie

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Boris - Il Film

Boris - Il Film - Italia - di Giacomo Ciarrapico, Mattia Torre, Luca Vendruscolo


commedia - 108'


Scritto da Emanuele Mochi (fonte immagine: mymovies.it)


Boris è il pesce rosso che René Ferretti, regista di mediocri fiction televisive, tiene sempre accanto a sé come portafortuna. Stanco di girare i soliti film TV di infima qualità, René accetta la proposta di portare sul grande schermo il libro “La Casta”. Ma le cose non vanno come il regista vorrebbe, e alla fine, anziché girare un film di denuncia circondato da collaboratori di alto livello, si ritroverà a dirigere con la sua fedele ma scalcinata troupe l'ennesimo cinepanettone: “Natale con la Casta”.


Prendendo ispirazione da uno dei più divertenti tormentoni di Boris (la serie tv), viene proprio da dire: “Finalmente un film senza Favino!”.


E l'assenza di questo (per altro bravissimo) attore, simbolo della consuetudine molto -troppo- italiana di puntare sul nome della star più in voga del momento per “fare cassetta”, è solo uno degli elementi che fanno di Boris una piacevole anomalia nel panorama della tv, e ora anche del cinema, in Italia.


Sì, perché la prima sensazione che immediatamente coglie lo spettatore di fronte a questo film (e davanti alla serie tv che l'ha preceduto) è quella di un improvviso, sconvolgente, spaesante disvelamento del finto, del tarocco che impera nella tv e in buona parte del cinema nostrano, permettendoci di assaporare finalmente qualcosa che profuma (o meglio, puzza) di verità.


L'eccezionale bravura del trio di sceneggiatori/registi (Giacomo Ciarrapico, Mattia Torre e Luca Vendruscolo) risiede nella loro straordinaria capacità di registrare la realtà così com'è, in presa diretta, senza filtri; e la realtà dell'Italia di oggi, lo sappiamo bene, non è certo delle più rosee.


L'arma che viene utilizzata per strappare il velo della finzione è quella dell'ironia, un'ironia sferzante, pungente, a tratti spietata ma mai demenziale, che non risparmia davvero niente e nessuno, e che riesce nell'improbo compito di far ridere e contemporaneamente di far pensare.


E così eccoci sfilare davanti una galleria di veri e proprio “mostri” che abitano il mondo del cinema: l'attore vanesio e pieno di sé (l'ottimo Pietro Sermonti nel ruolo del “divo” Stanis La Rochelle), l'attrice “cagna” (Carolina Crescentini nel ruolo di Corinna), il direttore della fotografia che si fa di cocaina (Ninni Bruschetta nel ruolo di Duccio), il produttore che pensa solo ai soldi senza capire nulla del suo lavoro (Alberto Di Stasio nel ruolo di Sergio) e molti altri.


Ma la critica si allarga all'industria cinematografica tutta, accusata di disinteressarsi completamente alla qualità del prodotto e di puntare soltanto al successo commerciale, in un meccanismo perverso di rassegnazione al brutto, a cui alla fine anche il povero René (un grande Francesco Pannofino) dovrà adeguarsi, girando un cinepanettone anziché un film di denuncia sociale.


Boris-il film è metacinematografico, e l'accusa che potrebbe essergli rivolta è quella di avere un pubblico esclusivamente di addetti ai lavori. In realtà raccontare il mondo dello spettacolo è solo il pretesto per analizzare una realtà ben più ampia, che coinvolge ogni sfera sociale e professionale: il cinema si fa sineddoche dell'intero sistema-Italia, e lo specchio deformante dell'ironia permette a ognuno di noi di vedercisi riflesso e ridere di sé stesso.


Per concludere, va detto che la serie TV, vuoi perché era una novità assoluta, vuoi perché costruire un film di oltre 100 minuti è diverso dallo scrivere una puntata di 20, aveva forse un altro passo rispetto al film, che perde un po' in brillantezza e freschezza di situazioni.


Ciononostante, Boris è un film che va assolutamente visto, e soprattutto da coloro che non hanno seguito la serie tv, se non altro per avere la prova che anche in Italia è possibile fare commedie di alta qualità.


Voto: 7

Boris - The movie

Boris - The movie - Italy - by Giacomo Ciarrapico, Mattia Torre, Luca Vendruscolo


comedy - 108'


Written by Emanuele Mochi (source image: mymovies.it)


Boris is the goldfish that René Ferretti, director of mediocre TV dramas, always keeps beside him as a good luck charm. Tired of shooting the usual TV movies of the lowest quality, René accepts the proposal to bring to the big screen the book “La Casta” (The Caste). But the things don't proceed as the director would like, and in the end, instead of shooting a denouncing movie surrounded by high level collaborators, he will find himself to direct with his faithful but shabby crew the umpteenth Christmas movie: “Natale con la Casta” (Christmas with the Caste).


Taking inspiration from one of the most entertaining catchphrases of Boris (the tv series), it comes just to say: “Finally a movie without Favino!”.


And the absence of this (however very good) actor, symbol of the custom very -too much- Italian to rely on the name of the most popular star of the moment to “make money”, is just one of the elements that make Boris a pleasant anomaly in the TV scene, and now also in the cinema, in Italy.


Yes, because the first sensation that immediately catches the viewer in front of this movie (and in front of the TV series that has preceded it) is that of a sudden, overwhelming, disorienting unveiling of the fake, of the false that prevails in the TV and in good part of the Italian cinema, allowing us to finally taste something that smells (or rather, it stinks) of truth.


The exceptional talent of the trio of screenwriters/directors (Giacomo Ciarrapico, Mattia Torre and Luca Vendruscolo) lies in their extraordinary ability to register the reality as it is, live recording, without filters: and the reality of today's Italy, we know it well, isn't certainly the most optimistic.


The weapon that is used to tear off the veil of the fiction is the one of the irony, a stinging, pungent irony, sometimes ruthless but never demented, that doesn't really save anything or anyone, and who succeeds in the difficult task of making people laugh and at the same time to make people think.


And so here watching a gallery of real and proper “monsters” that inhabit the world of cinema: the vain actor and full of himself (the excellent Pietro Sermonti in the role of the “star” Stanis La Rochelle), the “bitch” actress (Carolina Crescentini in the role of Corinna), the director of photography cocaine addict (Ninni Bruschetta in the role of Duccio), the producer who thinks only of money without understanding anything of his work (Alberto Di Stasio in the role of Sergio) and many others.


But the criticism widens to the whole film industry, accused of completely losing interest in the quality of the product and only aiming at the commercial success, in a perverse mechanism of resignation to the ugly, to which at the end also the poor René (a great Francesco Pannofino) will have to adapt, shooting a Christmas movie instead of a social denunciation movie.


Boris-The movie is metacinematographic, and the accusation that could be addressed to it is that to have a public exclusively of insiders. Actually telling the world of the entertainment is only the excuse to analyze a much wider reality, which involves every social and professional sphere: the cinema becomes synecdoche of the whole system-Italy, and the distorting mirror of the irony allows each of us to see ourselves reflected and laugh at ourselves.


To conclude, it must be said that the TV series, both because it was an absolute novelty, both because building a movie of over 100 minutes is different from writing an episode of 20 minutes, it had perhaps another step compared to the movie, which loses a bit in execellence and freshness of situations.


Nevertheless, Boris is a movie that must be seen absolutely, and especially from those who have not followed the TV series, just for the proof that even in Italy it's possible to make comedies of high quality.


Vote: 7

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