[ad_1]
Few are the anomalous cult like Boris, the Italian off-series that has shouldered the uncomfortable role of watershed of our local seriality. Before Boris no one had ever had the courage to shout that the king is nakedand that is that the Italian fiction had vices and mechanisms that they could be desecrated, as was the case with the bourgeoisie, the working class and, sometimes, even with power. Probably because what the masterpiece staged by the Ciarrapico-Torre-Vendruscolo trio was going to undermine was really a theater where power was felt loud and clear, populated by the “Romanelli” whom characters such as the unforgettable Itala took into consideration to remind them that things could not have changed until certain interferences had not ceased. The boldness that sustains Boris has ancient roots, linked to a world close to that of the small screen and characterized by many of the same problems: these roots belong to Pier Paolo Pasolini, and to his Ricotta landed in Italian theaters exactly sixty years ago, on February 19, 1963.
The context is that of Ro.Go.Pa.G., an anthology of short films by some of the biggest names in cinema of the period, including Rossellini and Godard, as well as Pasolini himself. The Friulian director is entitled to half an hour occupied by Ricotta, the most memorable segment of the film and turning point in Pasolini’s career. In a mirror way a Boristhe protagonist of the story is a crew intent on shooting in the Roman suburbs a film about the passion of Christone desecrated sacral frame by extras and workers, who prefer teasing, jokes and stripteases to the recollection suggested by a work of this depth. What stands out is the presence of Orson Wellesfor the occasion alter ego of Pasolini-director capable of offering scenes like this where the breathless dialogue with the actors can only recall that of René Ferretti with Stanis, Corinna and the rest of the gang.
.
[ad_2]
Source link
