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Screenwriter of Boris dies at the age of 47

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Muore a 47 anni sceneggiatore di Boris

📄 Spettacolo


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Mattia Torre, sceneggiatore, commediografo e regista italiano, noto soprattutto per aver scritto, insieme a Luca Vendruscolo e Giacomo Ciarrapico, la serie cult 'Boris', è morto oggi all'età di 47 anni, dopo una lunga malattia.


Tra i primi ad esprimere cordoglio sui social network, Corrado Guzzanti, con cui Torre aveva scritto anche la serie 'Dov'è Mario?' "Mattia Torre, amico carissimo e brillante, scrittore sopraffino, 47 anni, venti romanzi ancora da scrivere, cento sceneggiature. Una curiosità, un coraggio e un senso dell'umorismo rari in questo mondo, rarissimi in Italia. Uno che se adesso gli dicessi 'che la terra ti sia lieve' ti scoppierebbe a ridere in faccia, ci scriverebbe sopra un monologo. Mi mancherai tanto. Ci eri indispensabile", ha scritto commosso Guzzanti.



"Ciao Mattia, sei stato tra i migliori talenti per il teatro, il cinema, la televisione. Avevi capacità di sorprendere, di essere originale, di fare la differenza... Ci mancherai". E' il ricordo personale dell'amministratore delegato della Rai, Fabrizio Salini, per Mattia Torre.


"Mattia è entrato alla Rai con la sua leggerezza e la capacità curiosa di cogliere la vita e rappresentare mondi e persone" ricorda il direttore di Rai Fiction, Eleonora Andreatta. "Li ha messi in scena, anche in situazioni segnate dal dramma del vivere, e però sempre con il paradosso affettuoso di chi sa quanto il tragico e il comico possano corrispondersi. La forza del talento e una sensibilità sempre originale e innovativa, ha lavorato con Rai Fiction e con il Centro di Produzione di Napoli, ed ha regalato a tutti quelli che hanno collaborato con lui un'esperienza professionale e il calore prezioso di un'umanità che non dimenticheremo mai".


In un libro di due anni fa 'La linea verticale', edito da Baldini+Castoldi, Mattia Torre raccontava la sua malattia. Ecco un estratto. "Appena ho saputo di essere malato, ho subito pensato al mio funerale, ho immaginato come doveva essere: doveva essere molto doloroso. Perché i funerali più riusciti, quelli che rimangono impressi nella memoria, sono quelli molto dolorosi. In questo senso andava subito escluso il funerale cattolico, perché il funerale cattolico non è abbastanza doloroso. Per la maggior parte del tempo non si capisce bene cosa il prete dica, legge dalla Bibbia parabole di dubbia presa sul pubblico, cita a vanvera episodi della sua infanzia, e poi quelle musiche di organo sono distraenti, uno inizia a pensare ai fatti propri e questo è sbagliato, perché i pensieri, le emozioni dei presenti devono convergere in un unico, straziante dolore. Niente funerale cattolico quindi, e niente preti. Solo amici commossi che magari raccontino qualcosa sul defunto, qualcosa di lui, qualcosa di intimo, di toccante, aneddoti, aneddoti mirati, sulla persona, sulle sue qualità che ora appaiono superlative, un santo praticamente, aneddoti talmente emozionanti che chi li ha scritti non riesce a leggerli, e scoppia a piangere perché il dolore è troppo forte; oppure anche divertenti, che uniscano cioè allo strazio quella nota comica che rende il dolore ancora più insopportabile - 'amava la famiglia, gli amici, lo Chardonnay' - e infatti tutti piangono a dirotto, questo è il mio funerale, nessuno che fuma fuori, no, tutti dentro, accalcati, c'è posto per tutti. Perché il funerale perfetto è importante che sia devastante anche fisicamente, devi uscire col mal di testa e la voglia di vomitare. Non devi quasi più avere voglia di vivere dopo un funerale veramente riuscito. Ti deve passare la voglia di stare con gli altri, la fiducia nel futuro, l'inclinazione al lavoro, l'appetito. Mentre dentro tutti continuano a piangere a boati, come se non ci fosse un domani".


"I corridoi di un grande ospedale, scale e ascensori, una sala operatoria, un altro corridoio, luoghi inaccessibili al pubblico e altri pieni di gente che aspetta, umanità varia abbandonata, malati e parenti di degenti, e poi medici e infermieri. Non c'è cupezza. Un ospedale è una grande fabbrica in cui ognuno ha un ruolo. Tra questa gente, seduto in una sala d'attesa, l'aria imperturbabile, Luigi. Un medico lo chiama, è il suo turno, Luigi si alza ed entra nello studio dell'urologo. L'urologo è un ragazzo che avrà ventotto anni ma ne di- mostra ventidue, Luigi gli consegna la provetta che gli hanno dato al pronto soccorso e spiega di aver avuto, quella stessa mattina, un episodio di... 'ematuria', lo anticipa il giovane urologo alzandosi, ora, dice, facciamo subito un test per vedere se si tratta di sangue o altro. Luigi lo guarda: "Lei è molto giovane", commenta, "dev'essere alle sue prime visite". L'urologo sorride: "Questa è la mia prima visita". "La sua prima visita in assoluto?", chiede Luigi sorpreso. "Sì", sorride l'urologo. "Be'", Luigi, "che si dice in questi casi?" "È sangue", risponde l'urologo, "se per lei va bene facciamo subito una cistoscopia". La vita è anche questo: un attimo prima sei a lavoro, o a casa, o nel traffico, e un attimo dopo sei sul lettino di uno studio urologico. "Vede questo fiotto di sangue?" spiega il medico durante la cistoscopia mentre Luigi soffoca un urlo di dolore. "Quello viene direttamente dall'uretere, se lei è d'accordo facciamo subito un'ecografia". L'ecografia non è dolorosa ma Luigi è allarmato dallo sguardo del giovane medico. "Tutto bene?" "C'è qualcosa". "Qualcosa?" Il medico si alza e torna al suo tavolo, prego, venga, si sieda. Luigi si siede davanti a lui. L'urologo si fa coraggio, inspira, e parla: "Lei ha un tumore al rene sinistro. È grosso, è una grossa massa. Bisogna operare subito". Il cielo si spacca e tutto si capovolge. Si capovolge la sedia del giovane medico che cade all'indietro e pure il tavolo da cui cadono computer fogli tastiera e stampante, si capovolge lo studio che perde contorni e pareti, si ribaltano nozioni, concetti, pensieri e ricordi, tutto cade all'indietro. Gli oggetti non hanno più forma, niente è più ciò che era, gli altri non ci sono né ci saranno più, tutto è via, ci sono Luigi e la malattia in un immenso spazio bianco. Un tumore? L'urologo non replica, respira. Luigi dichiara di aver fatto delle analisi di routine qualche mese prima ed era tutto a posto, non ha dolori, non ha problemi. Il medico spiega che quello al rene è un tumore subdolo, asintomatico. Inspira forte. Luigi tace. Poi si alza. "Posso?" Luigi apre la porta dello studio medico, fuori, ad aspettarlo, sua moglie Elena e sua figlia Anita. Elena lo guarda e capisce subito qualcosa, Luigi prende Anita in braccio, sussurra alla moglie delle parole che non ricorderà mai più, lei sconvolta guarda il medico per capire meglio, il medico la vede, bellissima, incinta, tutto è capovolto anche per lui".

Screenwriter of Boris dies at the age of 47

📄 Entertainment


Published on:

Mattia Torre, Italian scriptwriter, playwright and director, best known for writing, together with Luca Vendruscolo and Giacomo Ciarrapico, the cult series 'Boris', died today at the age of 47, after a long illness.


Among the first ones to express condolences on social networks, Corrado Guzzanti, with which Torre had also written the series 'Dov'è Mario?' (Where is Mario?) "Mattia Torre, very dear and brilliant friend, exquisite writer, 47 years old, twenty novels yet to be written, a hundred screenplays. A curiosity, a courage and a sense of humor rare in this world, very rare in Italy. One that if I told him now 'che la terra ti sia lieve' (let the earth be light to you) he would burst out laughing in your face, he would write a monologue about it. I will miss you so much. You were indispensable to us", Guzzanti has written moved.



"Goodbye Mattia, you have been among the best talents for the theater, the cinema, the television. You had the ability to surprise, to be original, to make the difference... We will miss you". It's the personal memory of the CEO of Rai, Fabrizio Salini, for Mattia Torre.


"Mattia has entered the Rai with his lightness and the curious ability to capture the life and to represent worlds and people" reminds the director of Rai Fiction, Eleonora Andreatta. "He has staged them, even in situations marked by the drama of living, and yet always with the affectionate paradox of someone who knows how much the tragic and the comic can be the same. The strength of the talent and an always original and innovative sensitivity, he has worked with Rai Fiction and with the Naples Production Center, and gave all those who have collaborated with him a professional experience and the precious warmth of a humanity that we will never forget.


In a book of two years ago 'La linea verticale' (The vertical line), published by Baldini+Castoldi, Mattia Torre told his illness. Here is an excerpt. "As soon as I knew I was sick, I immediately thought about my funeral, I have imagined how it had to be: it had to be very painful. Because the most successful funerals, the ones that remain etched in the memory, are the very painful ones. In this sense the Catholic funeral was immediately ruled out, because the Catholic funeral is not painful enough. Most of the time it's not clear what the priest says, he reads from the Bible parables of dubious grip on the public, he quotes nonsense episodes from his childhood, and then those organ musics are distracting, one begins to think of one's own facts and this is wrong, because the thoughts, the emotions of those present must converge in a single, excruciating pain. No Catholic funeral then, and no priests. Only moved friends who maybe tell something about the deceased, something about him, something intimate, touching, anecdotes, targeted anecdotes, about the person, on his qualities that now appear superlative, a saint practically, so exciting anecdotes that those who has written them cannot read them, and bursts into tears because the pain is too strong; or even fun, that join to the torment that comic note that makes the pain even more unbearable - 'he loved the family, the friends, the Chardonnay' - and in fact everyone cries aloud, this is my funeral, no one who smokes outside, no, everyone inside, crowded, there's space for everyone. Because the perfect funeral is important that is devastating also physically, you have to go out with a headache and the urge to vomit. You almost no longer want to live after a truly successful funeral. You must pass the desire to be with others, the trust in the future, the inclination to the work, the appetite. While inside, everyone continues to cry, as if there were no tomorrow".


"The hallways of a large hospital, stairs and elevators, an operating room, another hallway, places inaccessible to the public and others full of people waiting, varied humanity abandoned, sicks and relatives of patients, and then doctors and nurses. There is no gloom. A hospital is a large factory where everyone has a role. Among these people, sitting in a waiting room, the imperturbable air, Luigi. A doctor calls him, it's his turn, Luigi gets up and enters the urologist's office. The urologist is a boy who maybe is twenty-eight years old but he seems twenty-two, Luigi gives him the test-tube that have given him in the emergency room and explains that he had, that same morning, an episode of... 'hematuria', the young urologist anticipates him getting up, now, he says, we immediately make a test to see if it's blood or something else. Luigi looks at him: "You're very young", he comments, "you have started recently with visits". The urologist smiles: "This is my first visit". "Your first visit ever?", asks Luigi surprised. "Yes", the urologist smiles. "Well", Luigi, "what is said in these cases?" "It's blood", the urologist replies, "if it's okay for you let's make a cystoscopy immediately". Life is also this: a moment before you are at work, or at home, or in the traffic, and a moment later you are on the couch of a urological study. "Do you see this gush of blood?" the doctor explains during the cystoscopy while Luigi suffocates a scream of pain. "That comes directly from the ureter, if you agree we immediately make an ultrasound". Ultrasound is not painful but Luigi is alarmed by the look of the young doctor. "Everything good?" "There's something". "Something?" The doctor gets up and goes back to his table, please, come and sit down. Luigi sits in front of him. The urologist takes courage, inhales, and speaks: "You have a left kidney tumor. It's big, it's a big mass. We must operate immediately". The sky splits and everything turns upside down. The chair of the young doctor is turned upside down falling backwards as well as the table from which fall computer keyboard and printer sheets, the studio is turned upside down losing outlines and walls, notions, concepts, thoughts and memories are overturned, everything falls backwards. The objects no longer have shape, nothing is what it was, the others are not there nor will there be any more, everything is away, there are Luigi and the disease in an immense white space. A tumor? The urologist doesn't reply, he breathes. Luigi declares to have done some routine analysis a few months before and it was all right, he hasn't pain, he hasn't problems. The doctor explains that the kidney tumor is a subtle, asymptomatic tumor. He inhales hard. Luigi is silent. Then he gets up. "Can I?" Luigi opens the door of the doctor's office, outside, waiting for him, his wife Elena and his daughter Anita. Elena looks at him and immediately understands something, Luigi takes Anita in his arms, he whispers to his wife some words he will never remember, she upset looks at the doctor to understand better, the doctor sees her, beautiful, pregnant, everything is turned upside down for him too".

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