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News 2019

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Why Boris is still the best Italian series

| Videodromenews.com

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Entertainment | | Leonardo Capanni

Perché Boris è ancora la migliore serie italiana

Sono passati 9 anni dalla messa in onda sul canale FX di Sky della terza e ultima stagione di Boris, eppure quello scritto e diretto dagli autori Mattia Torre, Giacomo Ciarrapico e Luca Vendruscolo resta il prodotto seriale per piccolo schermo più efficace, iconico e significativo che l'Italia abbia conosciuto negli ultimi 15 anni. Un vero case-study, che ha coniugato elementi e dinamiche alieni al mondo dell'entertainment italiano, quali libertà di scrittura, satira sferzante e un diffuso senso di anarchia, sorretto da un'autogestione del prodotto televisivo, tradotti poi in qualcosa che, per la generazione dei Millennials - specialmente nella fascia dai 25 ai 40 anni - equivale a quello che la saga di Fantozzi fu per i baby boomers. A distanza di quasi un decennio, lo spaccato sociale proposto da Boris è ancora vivo e attuale, insieme a quel lessico pop e a tratti farsesco che è entrato nell'uso quotidiano per non abbandonarlo più.

Boris è stato, per i Millennials, quello che Fantozzi fu per i baby boomers

Gli stessi volti degli attori protagonisti della “fuori-serie italiana” sono tuttora indissolubilmente associati a un prodotto di nicchia che è riuscito a farsi strada nell'immaginario pop del pubblico italiano in un momento di passaggio: dalla produzione e messa in onda per un canale on-demand di Sky, si è insinuato nelle case di un pubblico generalista grazie allo streaming e al passaparola, diventando il primo caso di prodotto televisivo cross-mediale italiano di successo in un'epoca - dal al - in cui Facebook iniziava a diffondersi nei laptop e nei nuovi smartphone italiani.

Quando Paolo Villaggio spiegò l'Italia

Una sorta di corto circuito concettuale che ne testimonia, paradossalmente, la modernità: potrebbe esistere oggi una sit-com più fruibile e adatta di Boris, in Italia, per un pubblico mediamente giovane abituato ai prodotti di piattaforme come Netflix o PrimeVideo? Sicuramente no. È forse in questa sua duplice natura di serie di nicchia, unicum creativo del panorama dell'intrattenimento italiano, e di fenomeno pop che ha superato le barriere del singolo medium per imporsi su vasta scala ed entrare nel lessico comune che Boris ha generato la sua fortuna che non conosce crepuscolo. E lo ha fatto attraverso i temi di una quotidianità esasperata, figlia di tempi incerti, dominati da cinismo, volgarità e storture croniche tipiche dell'Italia berlusconiana e della crisi economica.

La duplice natura di Boris, fenomeno di nicchia e pop, lo rende un prodotto unico nel panorama italiano

Un paese, filtrato dal microcosmo del set televisivo dell'improbabile soap Gli Occhi del Cuore, che ha mollato ogni velleità di cambiamento o miglioramento collettivo in favore di una quieta rassegnazione al peggio, di un abbraccio potenzialmente letale verso quel “peggior conservatorismo che, però, si tinge di simpatia”, come magistralmente descritto in uno dei monologhi più profetici e riusciti della serie, quello in cui uno sceneggiatore alla ricerca della chiave commerciale da aggiungere alla fiction diretta da René Ferretti, dice:«Serve un qualche cazzo di futuro. Io parlo della 'locura', Renè. La pazzia, che cazzo, Renè! La cerveza, la tradizione; o merda - come la chiami tu - ma con una bella spruzzata di pazzia: il peggior conservatorismo che però si tinge di simpatia, di colore, di paillettes. In una parola: Platinette. Perché Platinette ci assolve da tutti i nostri mali, da tutte le nostre malefatte. Sono cattolico, ma sono giovane e vitale perché mi divertono le minchiate del sabato sera. Ci fa sentire la coscienza a posto Platinette. Questa è l'Italia del futuro: un paese di musichette, mentre fuori c'è la morte. È questo che dobbiamo fare noi: Occhi del Cuore sì, ma con le sue tirate contro la droga, contro l'aborto e con una strana, colorata, luccicante frociaggine.»

«Questa è l'Italia del futuro: un paese di musichette, mentre fuori c'è la morte»

Se Boris è nato e si è sviluppato in un'Italia in cui il ruolo di dominus era plasticamente rappresentato dalla figura di Silvio Berlusconi, lontana dalle dinamiche politiche attuali, ha però costruito la sua unicità che perdura nel tempo sul registro del grottesco, necessario ad innescare una satira graffiante, giocata sui cliché delle figure che animano il sottobosco della televisione italiana e, più in generale, del mondo del lavoro: manager qualunquisti e trasformisti, stagisti destinati ad un eterno precariato esistenziale, il regista capace arresosi al modello commerciale dominante per quieto vivere, tecnici beceri, bulli e inconsapevolmente razzisti, autori schiavisti con la tessera di partito in tasca, attori raccomandati ed edonisti privi di ogni forma di talento. È come se, in modo improvviso, il velo che nasconde la galassia della televisione dal mondo esterno fosse stato strappato con un'efferatezza sociologica degna di un horror di Wes Craven per riportare negli occhi degli spettatori un'immagine specchiata aderente alla realtà sociale dell'Italia che viviamo e che, quotidianamente, riesce ancora a stupirci. Spesso in negativo. Esiste qualcosa di più attuale? «Perché un'altra televisione diversa è impossibile. La qualità ci ha rotto il cazzo, viva la merda!»

Entertainment | | Leonardo Capanni

Why Boris is still the best Italian series

9 years have passed since the broadcasting on the channel FX of Sky of the third and last season of Boris, yet the one written and directed by the authors Mattia Torre, Giacomo Ciarrapico and Luca Vendruscolo remains the most effective, iconic and significant serial product for small screen that Italy has known in the last 15 years. A true case-study, which has combined elements and dynamics that are alien to the world of the Italian entertainment, such as freedom of writing, lashing satire and a widespread sense of anarchy, supported by a self-management of the television product, then translated into something that, for the Millennials generation - especially in the 25 to 40 age group - is equivalent to what that the saga of Fantozzi was for the baby boomers. Almost a decade later, the social section proposed by Boris is still alive and current, together with that pop and sometimes farcical lexicon that has entered everyday use so as not to leave it anymore.

Boris has been, for the Millennials, what that Fantozzi was for the baby boomers.

The same faces of the protagonists of the “Italian off-series” are still indissolubly associated with a niche product that has managed to make its way into the pop imaginary of the Italian audience in a moment of transition: from the production and broadcast for an on-demand channel of Sky, it has weaved into the homes of a general audience thanks to streaming and word of mouth, becoming the first case of a successful Italian cross-media television product in an era - from to - when Facebook began to spread in laptops and new Italian smartphones.

When Paolo Villaggio explained Italy

A sort of conceptual short circuit that shows, paradoxically, the modernity: today could it exist a more usable and suitable sitcom than Boris, in Italy, for an average young audience accustomed to the products of platforms as Netflix or PrimeVideo? Surely not. It's perhaps in this double nature of niche series, creative unique example of the Italian entertainment panorama, and of pop phenomenon that has overcome the barriers of the single medium to impose itself on a large scale and enter the common lexicon that Boris has generated its fortune that knows no twilight. And it has done it through the themes of an exasperated everyday life, generated by uncertain times, dominated by cynicism, vulgarities and chronic distortions typical of Berlusconi age's Italy and the economic crisis.

The dual nature of Boris, niche and pop phenomenon, makes it an unique product in the Italian panorama

A country, filtered by the microcosm of the TV set of the unlikely soap Gli Occhi del Cuore (The eyes of the heart), that has abandoned any desire of change or collective improvement in favor of a quiet resignation to the worst, of a potentially lethal hug towards that “worse conservatism which, however, is tinged with sympathy”, as masterfully described in one of the most prophetic and successful monologues of the series, the one in which a screenwriter is looking for the commercial key to add to the drama directed by René Ferretti, says:«It needs some fucking future. I speak about the 'locura' (madness), Renè. The madness, what fuck, Renè! The cerveza, the tradition; or shit - as you call it - but with a nice splash of madness: the worst conservatism which however is tinged with sympathy, color, sequins. In a word: Platinette. Because Platinette absolves us from all our ills, from all our misdeeds. I 'm Catholic, but I'm young and vital because I enjoy the Saturday night bullshits. Platinette makes us feel good conscience. This is the Italy of the future: a country of jingles, while outside there is the death. This is what we have to do: Occhi del Cuore (The eyes of the herat) yes, but with its tirades against the drugs, against the abortion and with a strange, colorful, glittering faggyness.»

«This is the Italy of the future: a country of jingles, while outside there is the death.»

If Boris was born and has developed itself in an Italy where the role of dominus was plastically represented by the figure of Silvio Berlusconi, far from the current political dynamics, has however built its uniqueness that lasts over time on the register of the grotesque, necessary to trigger a biting satire, played on the clichés of the figures that animate the undergrowth of the Italian television and, more generally, of the world of the work: apolitical and transformative managers, interns destined for an eternal existential precariousness, the talented director surrendering to the dominant commercial model for quiet living, vulgar technicians, bullies and unknowingly racists, enslaved authors with the party card in their pockets, recommended actors and hedonists devoid of all forms of talent. It's like if, in a sudden way, the veil that hides the television galaxy from the outside world has been torn with a sociological ruthlessness worthy of a horror movie by Wes Craven to bring back in the eyes of the spectators a mirrored image adhering to the social reality of the Italy that we live and that, every day, still manages to amaze us. Often in negative. Does it exist anything more current? «Because another different television is impossible. The quality has fucked with us, hurrah for the shit!»

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Last news

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S01E07

But, it's good! Well, it's not bitter at all.
S01E13

Listen, piece of shit, I come from Fiano Romano, got it?

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