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Quiliano 2019. Boris-The movie, a goldfish named caste

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giovedì

Quiliano . Boris-Il film, un pesce di nome casta



(Il cast del film. Ninni Bruschetta è il secondo da sinistra. Clicca sull'immagine per vedere il trailer).



Italia,

108'

Regia: Giacomo Ciarrapico, Mattia Torre, Luca Vendruscolo

Interpreti: Francesco Pannofino, Ninni Bruschetta, Antonio Catania, Carolina Crescentini, Caterina Guzzanti, Pietro Sermonti, Giorgio Tirabassi, Alessandro Tiberi, Valerio Aprea, Massimo De Lorenzo, Andrea Sartoretti, Paolo Calabresi, Carlo Luca De Ruggieri, Alberto Di Stasio, Roberta Fiorentini, Massimiliano Bruno, Karin Proia, Eugenia Costantini, Rosanna Gentili, Claudio Gioè, Frankie hi-nrg mc, Massimo Popolizio, Nicola Piovani.



René Ferretti (Pannofino), regista insoddisfatto di fiction scadenti, ha l'occasione di una vita: dirigere la versione cinematografica del libro di inchiesta "La Casta" di Gian Antonio Stella e Sergio Rizzo.


Riesce ad ottenere finanziamenti e il lavoro di professionisti "seri", scartando così (non a malincuore) i suoi storici e scalcinati collaboratori.


Ma il mondo del cinema guarda con sospetto chi ha un passato nazionalpopolare e così le cose non si mettono troppo bene per il cineasta, che dovrà adattarsi a continui ridimensionamenti delle sue ambizioni autorali.



Eh, già: il film che Ninni Bruschetta si è portato dietro e che ha fatto proiettare al posto di I Cinghiali di Portici di Diego Olivares (vedi post precedente) è un'opera che riassume perfettamente quanto da lui affermato in tema di produzione e distribuzione cinematografica.


Boris-Il Film è la versione filmica della serie televisiva cult andata in onda per tre stagioni dal al e che racconta il dietro le quinte del set di una tipica fiction all'italiana - una presa per i fondelli continua dei luoghi comuni e della scarsissima qualità dei contributi tecnici e recitativi del genere, massacrato sotto i colpi di un'ironia sferzante e arguta.


Sull'onda del catartico successo (era ora che qualcuno demolisse questo modo di fare televisione!), nel Rai Cinema (in collaborazione con Fox, Sky Cinema, Wildside e Technicolor SA) ha deciso di produrne una versione per il grande schermo, questa volta incentrata proprio sulla realizzazione di un film impegnato.

Per strizzare l'occhio ai fan si sono presi in blocco gli stessi registi, sceneggiatori e praticamente quasi tutto il cast, ma nello stesso tempo si è cercato di rendere la storia comprensibile anche a chi non è pratico del mondo di Boris.


Il risultato è stato un mezzo flop al botteghino.


Immeritato, perché la pellicola coglie nel segno.


Non si è persa, infatti, la vena satirica e caustica originale e gli aspetti grotteschi sono solo adattati al nuovo contesto.


Gli affezionati possono ritrovare i propri beniamini e il tono dissacrante e beffardo che ha sempre caratterizzato la serie; ma anche i neofiti possono godersi uno spettacolo divertente - sebbene ai più potrebbero sfuggire riferimenti, situazioni, citazioni, particolari noti soprattutto a chi è più avvezzo.


Volutamente iperbolico ed esagerato, Boris-Il Film regala momenti di trash sublime: l'opera di denuncia che diventa un cinepanettone volgarissimo, Natale Con La Casta, la caricatura (tutt'altro che allusiva) di Margherita Buy (ottima Rosanna Gentili), le facce di Pannofino, le interpretazioni di Carolina Crescentini, Pietro Sermonti, Ninni Bruschetta (avrebbero potuto utilizzarlo di più: il suo Duccio Patanè, direttore della fotografia cocainomane, è un personaggio geniale) valgono da soli il prezzo del biglietto.


Certo, fa effetto la presenza della Rai tra i produttori: la società di servizio pubblico radiotelevisivo è chiaramente il bersaglio principale degli autori.

Se ne saranno accorti dalle parti di Viale Mazzini?


A prescindere dalla risposta, il film offre tra le righe uno spaccato duro e disincantato della stessa Italia, un Paese dove la corruzione dilaga, le raccomandazioni valgono più del talento, la mediocrità e il livellamento verso il basso sono preferiti alla qualità, chi lavora come precario è sfruttato e mal pagato, le idee sono soffocate dal conformismo, i furbi riescono a sfangarla (al contrario degli idealisti), il cinismo e l'opportunismo rappresentano la norma, le ambizioni vengono frustrate, la rassegnazione è spesso l'unico modo per sopravvivere.


Tale denuncia è resa ancora più forte dal tono burlesco della storia: si ride, sì, ma il retrogusto è amaro.


Chissà cosa ne penserà Boris, testimone muto di tutta la vicenda...

Alle volte essere un pesce rosso in una boccia è più comodo.

Thursday

Quiliano . Boris-The movie, a goldfish named caste



(The cast of the movie. Ninni Bruschetta is the second from the left. Click on the image to watch the trailer).



Italy,

108'

Directors: Giacomo Ciarrapico, Mattia Torre, Luca Vendruscolo

Actors: Francesco Pannofino, Ninni Bruschetta, Antonio Catania, Carolina Crescentini, Caterina Guzzanti, Pietro Sermonti, Giorgio Tirabassi, Alessandro Tiberi, Valerio Aprea, Massimo De Lorenzo, Andrea Sartoretti, Paolo Calabresi, Carlo Luca De Ruggieri, Alberto Di Stasio, Roberta Fiorentini, Massimiliano Bruno, Karin Proia, Eugenia Costantini, Rosanna Gentili, Claudio Gioè, Frankie hi-nrg mc, Massimo Popolizio, Nicola Piovani.



René Ferretti (Pannofino), dissatisfied director with poor dramas, has the chance of a lifetime: to direct the cinematographic version of the investigative book "La Casta" (The Caste) by Gian Antonio Stella and Sergio Rizzo.


He manages to get fundings and the work of "serious" professionals, thus discarding (not reluctantly) his historical and shabby collaborators.


But the world of cinema looks with suspicion on those who have a national-popular past and so the things don't go too well for the director, who will have to adapt to the continuous downsizes of his authorial ambitions.



Well, already: the movie that Ninni Bruschetta has brought with him and that had it projected in place of I Cinghiali di Portici (Portici Boars) by Diego Olivares (read previous post) is a work that perfectly sums up what he has stated in terms of cinematographic production and distribution.


Boris-The movie is the cinematographic version of the cult tv series aired for three seasons from to and that tells the backstage of a set of a typical Italian drama - a continuous mockery of the clichés and the very poor quality of the technical and recitative contributions of the genre, massacred under the blows of a biting and witty irony.


On the wave of the cathartic success (it was time for someone to break this way of making television!), in Rai Cinema (in collaboration with Fox, Sky Cinema, Wildside and Technicolor SA) has decided to produce a version for the big screen, this time focusing precisely on the making of a political movie.

To wink to the fans the same directors, screenwriters and practically the entire cast have taken over the block, but at the same time an attempt has been made to make the story understandable even to those who are not familiar with the world of Boris.


The result has been a half flop at the box office.


Undeserved, because the movie hits the mark.


In fact, the original satirical and caustic vein has not been lost and the grotesque aspects are only adapted to the new context.


The fans can find their heroes and the irreverent and mocking tone that has always characterized the series; but even the beginners can enjoy a fun show - although most people might miss references, situations, quotations, details known above all to those who are more accustomed to it.


Deliberately hyperbolic and exaggerated, Boris-The movies offers moments of sublime trash: the denunciation work that becomes a very vulgar Christmas comedy, Natale Con La Casta (Christmas With The Caste), the caricature (anything but suggestive) of Margherita Buy (excellent Rosanna Gentili), the faces of Pannofino, the interpretations of Carolina Crescentini, Pietro Sermonti, Ninni Bruschetta (they could have used it more: his Duccio Patanè, cocaine addict director of photography, is a brilliant character) alone are worth the price of the ticket.


Of course, the presence of Rai between the producers it makes effect: the public broadcasting company is clearly the main target of the authors.

Will it be noticed in headquarters in Viale Mazzini?


Regardless of the answer, the film offers between the lines a hard and disenchanted slice of Italy itself, a country where corruption is rampant, recommendations are worth more than talent, the mediocrity and the leveling down are preferred to the quality, who works as a precarious worker is exploited and badly paid, the ideas are suffocated by the conformism, the smart ones manage to break it (unlike the idealists), the cynicism and the opportunism are the norm, the ambitions are frustrated, the resignation is often the only way to survive.


This complaint is made even stronger by the burlesque tone of the story: we laugh, yes, but the aftertaste is bitter.


Who knows what Boris, silent witness of the whole affair, will think of it...

Sometimes being a goldfish in a bowl is more comfortable.

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S01E02

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