FRAMES CINEMA

Category: Recensioni

Recensione Aquaman e il regno perduto – Un’amara chiusura del cerchio

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Nel mondo del cinema gli universi condivisi sono un concetto ormai conosciuto: una serie di film – ma anche prodotti laterali come serie tv, libri, fumetti – che narrano storie ambientate nello stesso universo narrativo e i cui protagonisti prima o poi finiscono per incontrarsi o scontrarsi. Ad oggi si è però arrivati ad un momento di stagnazione di questo concetto: il Monsterverse di casa Warner sembra puntare tutto soltanto sulle pellicole con protagonisti Kong e Godzilla, oltre che alla produzione seriale originale di casa Apple dalla poca risonanza di pubblico; il Dark Universe con protagonisti i mostri della Universal si poteva definire morto in partenza già nel 2017 con La Mummia di Kurtzman; persino quel Marvel Cinematic Universe che ha dato inizio a tutto questo si ritrova ormai fagocitato da produzioni senza una vera direzione che deludono i fan uno dopo l’altro. Il DC Extended Universe in questo ambiente ha camminato in un percorso decisamente tortuoso: partito dall’idea di Zack Snyder di proporre una sua visione degli eroi DC da raccontare nell’arco di cinque pellicole e trasformato fin da subito in una serie di prodotti il cui scopo era di imitare il successo ottenuto in casa Marvel, ha poi subito numerosi ripensamenti in corso d’opera, ripensamenti che sono andati a minare non poco la tenuta complessiva. Si presentano così prodotti come la Zack Snyder’s Justice League, ottenuta dopo l’incessante richiesta dei fan sul web, una Suicide Squad che si è barcamenata tra la prima pellicola di David Ayer figlia di numerosi rimontaggi e il sequel di James Gunn che riscrive completamente i personaggi ed il tono o un Black Adam che doveva “ribaltare la gerarchia del DCEU” presentandosi come rinascita ma che non convinse appieno e che si portò dietro numerose affermazioni problematiche sui dati di successo, tanto da portare i vertici ad apportare una brusca frenata e ad affidare alle mani di James Gun e Peter Safran la completa ripartenza da zero dell’intero universo narrativo la cui pellicola di lancio sarà quel Superman Legacy annunciato per il 2025. Nel frattempo, i due hanno però pensato di non tagliare le gambe ai progetti già in lavorazione permettendo ai vari team di finire i propri lavori: Titans e Doom Patrol hanno così ottenuto entrambe la loro stagione conclusiva e in sala sono arrivati The Flash, Blue Beetle e il sequel di Aquaman atteso da ormai cinque anni a chiudere definitivamente il cerchio di questo universo condiviso.

Tra fantasy e steampunk vince sempre la Famiglia

Complici i diversi anni trascorsi dal primo capitolo, i primi minuti di questa pellicola si prendono il tempo necessario per ricapitolare brevemente quanto accaduto in precedenza, soprattutto per quanto riguarda nomi e legami tra personaggi, permettendo così anche a chi non ha avuto il tempo di un rewatch – o addirittura non ha recuperato il primo film – di godersi appieno questa nuova avventura di Aquaman, ora padre del piccolo Arthur Jr., che si destreggia tra la vita da supereroe sulla terraferma e di Re di Atlantide sui fondali marini. Nei panni del villain troviamo nuovamente Black Manta, questa volta guidato da un misterioso tridente intriso di magia nera e alla ricerca del re di un regno sottomarino perduto da secoli.

Il resto del film si sviluppa tra battute, che per quanto semplici funzionano quasi sempre (almeno nel caso del protagonista e meno dei secondari), e scene d’azione che mescolano atmosfere alla Tomb Raider con elementi tra lo steampunk e il fantascientifico – ne sono un esempio dell’uno le piovre metalliche dell’antica civiltà perduta che sembrano fare il verso alle sentinelle di Matrix e dell’altro le tute quasi spaziali e i fucili al laser in puro stile Star Wars. Si aggiungano poi un re con un esercito di non morti che pesca a piene mani da Il Signore degli Anelli, una città di pirati a metà tra Tortuga de I Pirati dei Caraibi e Knowhere dei Guardiani della Galassia e alcuni momenti vagamente horror a ricordare al regista i lavori precedenti e il gioco è fatto: una narrazione senza particolari spunti, che procede con il pilota automatico verso lidi più che conosciuti ma che tutto sommato permette di godersi il tutto senza momenti morti o eccessivamente caricaturali e permettendosi così di non cadere mai nell’imbarazzo alla The Marvels.

Guardare un videogioco

Ciò che permane durante tutta la visione è più che altro la costante sensazione di stare guardando una lunga sequenza di cutscene di un videogioco montate l’una dietro l’altra, in cui a farla da padrone è la soverchiante quantità di computer grafica utilizzata per mettere in scena tutto quanto dai protagonisti ai mostri fino alle ambientazioni. Lampante è infatti lo stacco tra le sequenze “reali”, spesso caratterizzate per giunta da ambientazioni suggestive che spaziano dal deserto a fitte foreste pluviali, e quelle interamente realizzate al computer e che, non potendo contare su una qualità ai livelli di un Avatar – La via dell’acqua, non producono un effetto sempre gradevole.

Ma al mondo dei videogiochi fa pensare anche l’intera messa in scena della vicenda, intervallata da una elevatissima quantità di scene d’azione, quasi come se Jason Momoa e compagni fossero protagonisti di un action adventure in stile God Of War in cui bisogna farsi strada tra i pericoli a suon di pugni e calci. In questo la regia di James Wan si dimostra tutto sommato riuscita, con alcune inquadrature di una certa ricerca artistica e una gestione dei combattimenti sempre chiara e mai troppo confusionaria che assieme alle “muscolose” interpretazioni del cast – che preferisce parlare con i pugni piuttosto che con le parole – costruisce numerose sequenze prive di grossi approfondimenti ma certamente coinvolgenti.

In chiusura ci teniamo a spezzare una lancia al tema dell’inquinamento, già centrale nel primo capitolo e qui declinato attorno al tema del riscaldamento globale che, seppur mostrato in maniera tutt’altro che emotivamente pesante, può dimostrarsi particolarmente utile per riflettere e dialogare soprattutto con gli spettatori più piccoli.

Conclusioni

Aquaman e il regno perduto è, in definitiva, un film scialbo e prevedibile, che mette in scena una vicenda farcita di combattimenti in computer grafica e che non si prende mai sul serio, viaggiando così senza intoppi per i 124 minuti di durata ma che già dopo i titoli di coda sarà scomparsa dalla memoria di ogni spettatore. Si chiude quindi così il traballante DC Extended Universe, non tra scroscianti applausi, ma con un piccolo botto incapace di lasciare alcun segno definitivo.

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Mattia Bianconi,
Redattore.

December 22, 2023
Recensione The Crown 6 (Seconda parte) – End of an Era

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Se la prima tranche della sesta e conclusiva stagione di The Crown ci aveva accompagnati con delicatezza verso il drammatico destino di Lady Diana Spencer (qui la recensione), il secondo lotto di episodi (su Netflix dal 14 dicembre) si spalanca in medias res, senza indugi né orpelli commemorativi, nel grigiore brumoso della cappa di dolore e tormentata elaborazione del lutto di uno sperduto e affranto Principe William (la new entry Ed McVey). Il mesto e muto rientro a Eton tra il sostegno dei compagni, la saggia protezione della royal granny e l’astiosa conflittualità col padre Carlo; la crisi di una complicata identità in formazione e un’angosciosa incertezza nella definizione del futuro specchiate nei cupi e similari dilemmi di una Corona che procede insicura e claudicante verso la fine del millennio. In un nuovo secolo che rischia di lasciarsi alle spalle i gravosi retaggi monarchici, tra l’esplosione di consenso per il New Labour di Tony Blair, le minacce del terrorismo globale, altri lutti e defezioni familiari e un complesso lascito da gestire.

Sondati in Willsmania (episodio 5) ferite e rancori del giovane erede al trono, obbligato a un raffronto impossibile e sfinente col fantasma privato e mediatico della madre defunta, l’episodio 6 (Ruritania) va subito al nocciolo della prassi tesi-antitesi-sintesi tipica di The Crown, aggiornamento puntale della disputa argomentativa di spinte individuali e leggi di Sistema fra auctoritas alleate ed ego rivali. Vediamo ad esempio Tony Blair (Bertie Carvel) irritare la sconcertata platea femminile del Women’s Institute (siamo nel 2000). Si rivela un fiasco il tentativo di aprire un dialogo col corpo conservatore dell’associazione di donne middle class. La smaltata retorica blairiana da convention non sfonda laddove ha invece la meglio il pragmatismo complice e genuino di Queen Elizabeth. La risoluzione drammaturgica di Morgan sta al solito, senza troppi manicheismi, nel concertato e tenace equilibrio degli opposti, con l’opzione radicale del cambiamento che non invalida mai del tutto il peso concreto e specifico di una tradizione fieramente resistente.

Si rivede nel complesso, con più sostanza, la struttura dialogica delle regolari udienze premier-monarca, leitmotiv delle prime stagioni. Con gli schietti confronti tra QE e Blair a promuovere la bozza flessibile di una monarchia – e di un plot – riformabile in senso moderno. Anche se, decreta Elizabeth, quasi tirando le somme filosofiche degli attributi della serie, «la monarchia non è razionale, o democratica, o logica, tantomeno giusta», perché la gente vuole – e gli spettatori pure – «la magia e il mistero, tutto ciò che è arcano, eccentrico, simbolico e trascendentale». Siamo ancora una volta, l’ultima (?), al centro equidistante del fascino duplice di The Crown: discreto e indiscreto, scrupoloso e seducente, di understatement in piena trasparenza. Seduti in un ideale parterre dei commoners ma al centro del banchetto Reale, tra la distanza irriducibile da un aulico e inaccessibile reame da fiaba anacronistica, coi suoi sussiegosi figurini inamidati e impolverati come (au)tomi di Storia Antica abbandonati sulle scrivanie di mogano, e l’immedesimazione empatica e sentimentale, partecipe e ravvicinata, con quelle persone che la penna di Peter Morgan, come un moderno e laico Giotto del rinascimento Windsor (in analogia col pittoricismo studiato da Kate e William a St. Andrews), si sforza di dipingere in tratti umanamente realistici. Figure tridimensionali a tutto tondo che allaccino una particolare «connessione emotiva con lo spettatore».

Su questo versante, scomparsa l’abbacinante aura accentratrice della figura bigger than life di Diana, apporta preziosa linfa l’origin (love) story dei giovani studenti innamorati William e Kate. Che trova i giusti volti (perfetta la timida alchimia e gli sformati look anni ’90 dei bellissimi Ed McVey e Meg Bellamy) e gli opportuni mezzi toni per rilanciare l’epopea monarchica riattualizzandola nella dimensione appartata – molto acerba e ancora poco idilliaca – di un morbido e litigioso boy meets girl, che sa rendere attrattivo il royal brand per un pubblico più giovane e allargato (dentro e fuori i confini di Netflix). Con quella necessaria sfilata di mood vintage, irresistibile coolness da teen drama e garbato glamour collegiale.

Il fil rouge più robusto di questa final season – giocoforza una summa artistico-esistenziale dell’intero arco di serie-, si snoda dunque nella costante oscillazione tra i temi della memoria familiare e dell’eredità monarchica, nel gioco di scacchi tra i predecessori e i discendenti. Tra il ripiegamento nel vissuto, nella sicurezza dei posti delle fragole dimenticati e dei legami smarriti, e i confusi slanci di rinnovamento nella indebolita precarietà dell’avvenire dinastico. In un continuo e compatto doppio movimento tra flashback e flashforward, in egual misura oniricamente veritieri e autenticamente immaginari. La memoria non più intesa quale genetico e infrangibile patrimonio di sangue blu da trasmettere, conservare e perpetrare immutato ai posteri, ma come malinconico e flebile ricordo che – nella struggente consapevolezza dell’approssimarsi del trapasso di un’era – si attarda nella contemplazione intima di un passato di felicità e innocenza irrecuperabili, per provare a indirizzare il futuro. Abbondano perciò gli antichi filmati di famiglia (reale) che i personaggi in solitudine fanno a più riprese scorrere sui rulli del proiettore domestico, con un groppo in gola di rimpianti e rimorsi (Elizabeth rimira i giochi d’infanzia e i giorni dell’Incoronazione, parendo quasi dissolversi sovrapposta al telo su cui le immagini trascolorano).

L’ottavo episodio (Ritz), magnifico, è in toto una personale e condivisa madeleine narrativa a flashback alternati e intermittenti, che serba il segreto ricordo della gaia spensieratezza e dell’entusiasmo temerario di una nottata di festa trascorsa all’hotel Ritz – teatro londinese di un’altra fuga, dopo quella parigina di Diana – dalle sorelle adolescenti Elizabeth e Margaret (le ottime Viola Prettejohn e Beau Gadsdon), durante le celebrazioni del Victory in Europe Day (8 maggio 1945): con le due scatenate a ritmo di jive e baci rubati in una sfrenata atmosfera da sotterraneo speakeasy, che fa da fugace anticamera dell’età dell’innocenza e della dolce irresponsabilità di Lillibeth, presto interrotta dalla chiamata all’irreprensibile severità della missione istituzionale. È anche l’occasione dell’ultimo abbraccio a un personaggio sfacciatamente gaudente ma profondamente complesso e sofferto come l’ormai inferma (ma sempre indomita) principessa Margaret di Lesley Manville. La passeggiata delle due giovani al rientro all’alba verso Buckingham Palace, sul Mall deserto in una limpida atmosfera da fiaba irreale, è l’immagine del sogno spezzato di due ardite Cenerentole prematuramente obbligate al disincanto.

Torna poi il quid fantasmatico già visto all’opera con la revenant Diana, nel doppio confronto interiore di Elisabetta col discordante ventaglio psicanalitico delle varie sé abitate nel corso delle stagioni. In quella che è anche una breve genealogia visuale dell’evoluzione attoriale del ruolo, le omologhe Regine del passato risalgono sul trono dell’inconscio di Elizabeth per scavare nella scissione aperta dal suo irrisolto dualismo, e illuminarne la catarsi. La volitiva e risoluta Elizabeth nel fiore degli anni, Claire Foy, riemerge come monito del Super-io istituzionale, che richiama a permanenza, stabilità e continuità della Corona, incarnazione della perfetta e compiuta eternità del ruolo che ha messo da parte e in ombra per sempre la libera spontaneità della persona («Se cercassi Elisabetta Windsor non la troveresti. La seppellisti di stessa, anni fa»). La più matura, provata e disillusa Olivia Colman è invece lo spettro impietoso di un ineludibile memento mori, che certifica lo sfinimento esistenziale e invita all’accoglienza serena dell’ipotesi abdicazione (in mezzo a una storyline in cui, peraltro, si dà pieno risalto, non senza toni affettuosi e autoironici, alle premature operazioni per le esequie della sovrana).

Senza troppo spoilerare, un plauso va in ultimo a un finalissimo (di episodio – il decimo -, di annata e di serie) che non tradisce le aspettative, e suggella nel miglior modo il corposo arco narrativo fin qui sviluppato. Congedo elegiaco, sontuoso e solenne ma ancora una volta intimamente soggettivo e misurato, con la toccante suggestione di una possibile, visionaria preveggenza sensoriale di Elisabetta, che procede solitaria scrivendo da sola il capitolo finale della sua Storia. Camminando sui propri passi verso quel destino di insostituibile presenza e iconica longevità che abbiamo imparato a conoscere. Sembrerà una chiusa formale, ma la ribadiamo con rinnovata emozione: God Save The Crown.

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Daniele Badella,
Redattore.

December 20, 2023
Recensione Wonka – Il meraviglioso cioccolataio di Dahl

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Whimsical: insolito e strano in una maniera che può essere divertente o fastidiosa

(definizione del Cambridge Dictionary)

Come “Willy” divenne “Wonka”

Chi di noi non è cresciuto con almeno una versione della storia di Charlie Bucket, Willy Wonka e la sua magica fabbrica di cioccolato? Che si tratti del libro di Roal Dahl (1964), del primo adattamento cinematografico con protagonista Gene Wilder (1971) o della più recente collaborazione tra Tim Burton e il suo attore feticcio Johnny Depp (2005), La fabbrica di cioccolato è una storia che accompagna da decenni generazioni di lettori e spettatori.

Wonka, al cinema in questo momento, è l’ennesimo esperimento cinematografico che cavalca l’onda nostalgica emersa negli ultimi anni: un prequel, in forma di musical, dedicato alla figura del bizzarro maestro cioccolatiere e alle origini del suo incredibile successo, prima che diventasse capo del suo indiscusso impero. Per emergere nello spietato mondo dell’arte dolciaria, Willy dovrà scontrarsi con un gruppo di industriali senza scrupoli collusi con la polizia locale e cercare di emergere conquistandosi il favore popolare.

Al timone di questa operazione, che strizza evidentemente l’occhio più al Wonka con Wilder che a quello di Depp (oltre a riprenderne due canzoni, ripropone anche il design degli Oompa Loompa, le creaturine che aiutano il signor Wonka nella sua fabbrica), abbiamo Paul King, regista di Paddington e Paddington 2, pellicola per un breve periodo ha battuto Quarto potere nella classifica dei film migliori secondo Rotten Tomatoes e che, in Il talento di Mr. C, il personaggio interpretato da Pedro Pascal cita come uno dei suoi preferiti, preferendolo addirittura a Il gabinetto del dottor Caligari.

A vestire i panni che furono di Wilder e Depp, abbiamo Timothée Chalamet. L’attore ventisettenne, “esploso” con Chiamami col tuo nome e da allora divenuto uno dei volti più conosciuti ed amati della (e dalla) sua generazione, cerca probabilmente di “liberarsi” dal ripetuto casting in ruoli spesso simili a cui è rimasto legato negli ultimi anni. Si tratta infatti della prima volta in cui Chalamet, che ha un passato scolastico di esibizioni in musical, balla e canta al cinema (per la sua performance canora ha ricevuto sia critiche che lodi) e la prima volta in un film diretto principalmente ad un pubblico di bambini.

Come aveva già avuto modo di fare in The French Dispatch, inoltre, Chalamet sperimenta con stilemi di recitazione esagerati, in sintonia col tipo di mondo abitato dal suo personaggio. Il risultato è per lo più riuscito, pur mancando una certa malevolenza e una doppiezza che erano presenti (neppure troppo) sottopelle nel Wonka di Wilder, qui chiaramente richiamato specialmente in alcune espressioni dell’attore. A volte, tuttavia, l’attore ricade in alcuni dei suoi modi di fare e nelle sue inflessioni più “classiche”, rendendo difficile vedere il personaggio Wonka e non, appunto, Chalamet stesso.

Dal punto di vista recitativo, merita certamente una menzione anche Hugh Grant (che ha reso molto chiaro quanto poco abbia apprezzato lavorare al film) nella parte dell’Oompa Loompa. Il personaggio appare poco ma fornisce un contraltare divertente specialmente col suo humour “secco” e con la sua attitudine estremamente seria in opposizione a tutte le cose fantastiche che stanno accadendo attorno a sé.

Più debole, forse, l’interpretazione della co-protagonista Calah Lane, che rende meno riuscite alcune delle scene più emotivamente pregne che la vedono coinvolta con Chalamet. Si tratta comunque di un fatto più che giustificabile, vista la giovanissima età dell’attrice (classe 2009).

Assurdo Q.B. (Quanto Basta)

Il problema sopra riportato, a dirla tutta, non è di Chalamet soltanto, ma del film nella sua interezza, che in alcuni frangenti soffre di una certa dissociazione tra intenti e stile.

Wonka è nella sua forma migliore quando si poggia sull’assurdo e sul whimsical (traducibile come “stravagante”), riecheggiando lo stile e lo humour di Roal Dahl con alcune trovate genuinamente interessanti ed ispirate. A queste istanze di totale immersione nell’assurdo, tuttavia, non si accompagna sempre una corrispondenza in termini di recitazione o messa in scena, con ricadute nel sentimentalismo hollywoodiano, specialmente nel terzo atto, piuttosto che nell’esagerazione e nella stilizzazione (si vedano come contraltari i film di Wes Anderson o la serie Netflix Una serie di sfortunati eventi).

Va comunque apprezzata la scelta di appoggiarsi su un genere, il musical, che ha già in sé un certo seme di esagerazione e di sospensione dell’incredulità (e che per questo, a volte, è difficile da vendere o da “digerire” per certi spettatori). I numeri musicali, oltre a possedere una loro marca stilistica (cosa che non tutti i film musical possono dire di avere), sono diretti in maniera generalmente competente, e le nuove canzoni, scritte da Neil Hannon, non sono particolarmente originali ma sono decisamente orecchiabili, in particolar modo il brano A World of Your Own.

In ultima analisi, Wonka è un film senza picchi di infamia né di particolare lode, ma svolge bene il suo lavoro di film d’intrattenimento e per le famiglie. Pur ricadendo in alcuni espedienti rivolti ad un pubblico esclusivamente infantile (specialmente alcuni fat jokes), essi non risultano essere sufficientemente frequenti da repellere un pubblico di adulti, che anzi probabilmente troverà di che divertirsi per un paio di ore di spensieratezza.

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Silvia Strambi,
Redattrice.

December 17, 2023
Recensione Ferrari – Una famiglia condannata

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Con Ferrari Michael Mann torna sulle scene internazionali dopo ben otto anni dal suo Blackhat. Il film è presentato in Concorso alla 80. Mostra Internazionale d’Arte Cinematografica di Venezia ed è l’adattamento del romanzo Enzo Ferrari: The Man, The Cars, The Races, The Machine di Brock Yates.

Come il libro da cui è tratto, Ferrari non racconta l’intera biografia dell’imprenditore italiano (interpretato da Adam Driver) ma decide di soffermarsi soltanto su una sua parte, in particolare il 1957 quando è ormai un ex pilota in crisi con l’ombra del fallimento incombente sull’azienda, che dirige assieme alla moglie Laura Garello (Penélope Cruz), a cui si aggiunge la tragedia della morte del figlio Dino stroncato appena un anno prima da una distrofia muscolare, a soli ventiquattro anni. Il film narra anche il rapporto del Commendatore con Lina Lardi e la pericolosa corsa che la casa Ferrari tenta coi suoi piloti nel maggio del ‘57, la Mille Miglia.

L’uomo dietro al Cavallino

Il Cavaliere, Il commendatore (fu nominato Cavaliere di Gran Croce dell’OMRI nel luglio del ‘57), L’Ingegnere, Il Mago di Maranello, Il Patriarca, Il Grande Vecchio, Il matto (Al mat in dialetto modenese) oppure anche Il Drake (facendo riferimento al famoso corsaro inglese Francis Drake), non si riescono a contare tutti i soprannomi affibbiati al capoccia del Cavallino, una delle personalità del ‘900 italiano attorno a cui – più di tanti altri – si è creato l’alone mitico che Michael Mann ha compreso adattarsi bene al racconto su grande schermo. Ferrari indossava sempre gli occhiali da sole per “non farsi guardare dentro” perché “solo attraverso gli occhi si può”, e quindi chi era il Drake secondo il regista di Heat – La sfida? Il film riserva soltanto i pochi minuti dell’incipit al Ferrari-pilota, con Driver che sfreccia in bianco e nero sulle auto da corsa degli anni ‘20, ma nei restanti 125 non troviamo nemmeno l’imprenditore, l’ingegnere automobilistico, o l’agitatore di uomini e di talenti (come amava definirsi), semmai soltanto un sessantenne narcisista sopravvissuto a due guerre mondiali, molteplici crisi finanziarie e altrettanti incontri con la morte che hanno contribuito a costruire il culto del brand Ferrari al di là dei successi su pista (rinomatamente molto inferiori rispetto a quelli di tante altre scuderie meno famose).

Al Commendatore non andò mai giù quel “no” della Fiat agli albori della sua carriera da pilota e infatti viene presentato come una persona in cerca di riscatto, di rivalsa nei confronti di tutte le altre case automobilistiche ma poco curante dei suoi collaboratori, un po’ donnaiolo e algido anche con l’unico figlio rimasto, Piero, di cui fatica a soddisfare persino la semplice richiesta di avere l’autografo del pilota Alfonso de Portago, con cui Enzo è a contatto ogni giorno. Nel suo essere persona determinata e calcolatrice, Ferrari è anche estremamente solo e chiuso in sé stesso, segnato indelebilmente dalle morti del padre e del fratello maggiore avvenute a brevissima distanza nel 1916.

Il requiem di Michael Mann

In una scena con protagonista la magistrale Penélope Cruz, il suo personaggio spara con grande nonchalance appena sopra la spalla del marito Enzo, quasi per gioco, come mero atto ironicamente intimidatorio; non è un caso che il colpo sia sparato con tale facilità e disinvoltura: la morte è cosa comune per la famiglia Ferrari e soprattutto per Enzo, su cui aleggiava anche nel ‘33 quando gli amici e piloti Mario Umberto Borzacchini e Giuseppe Campari, citati nel film, morirono sulla pista dell’Autodromo di Monza scivolando in curva su di una macchia d’olio. Ma non solo, la fame di successo di Ferrari richiedeva ai piloti di spingersi fino al limite come successe a Eugenio Castellotti, di cui vediamo la morte nel marzo del ‘57 durante una sessione di prove private sull’Autodromo di Modena; forse non è un caso che all’inizio del film venga ripetuto come una minaccia il nome di Jean Behra, pilota che morirà sul circuito dell’AVUS durante il Gran Premio di Germania due anni dopo, nel 1959, e che nel film rappresenta inizialmente la paura esterna più grande per la scuderia Ferrari, la Maserati.

Enzo si reca quotidianamente alla tomba del figlio Dino per confidarsi con lui e ricordare ogni giorno la scomparsa sua e del padre; ricordi funerei che incatenano il Drake a un passato che non potrà mai più riavere indietro e simboleggiato anche dalla guida che ancora Enzo adotta alla macchina, quella sportiva con cui gareggiava trent’anni prima. Morte che raggiungerà Ferrari soltanto alla veneranda età di novant’anni e che noi non vedremo mai nel film, dove si sceglie intelligentemente e simbolicamente di ambientare tutto nel ‘57 e terminare infatti con la tragedia di Guidizzolo avvenuta durante la Mille Miglia, dove perse la vita il pilota Alfonso de Portago – proprio il pilota il cui autografo era bramato dal piccolo Piero Ferrari – assieme al copilota Edmund Gurner Nelson, e dove morirono nove spettatori tra cui cinque bambini, oltre a numerosi feriti.

Il Commendatore venne incriminato e rinviato a giudizio per l’incidente, ma infine assolto. Cosa che invece decide di non fare Michael Mann, dipingendo con toni talvolta lirici – guardacaso ci sarà anche un sipario a teatro – una famiglia condannata, maledetta, a cui viene dedicato un requiem mai assolutorio ma terribilmente cinico, tetro e tragico.

Ferrari uscirà nelle sale italiane il 30 novembre 2023.

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Alberto Faggiotto,
Caporedattore.

December 13, 2023
Recensione Home Education: Le regole del male – Riuscire a metà

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Nella sperimentazione di genere, il cinema italiano non è di certo al passo con altri paesi ma risulta innegabile come negli anni la nostra penisola sia stata capace di scrollarsi di dosso la nomea di produttrice dei “soliti film tutti uguali”. Il genere sicuramente più florido di nuovi prodotti è l’horror, con diversi nuovi nomi capaci di farsi strada attraverso opere prime o seconde pellicole – già solo in questi ultimi anni abbiamo avuto come esempio l’opera prima di Ambra Principato Hai mai avuto paura, Pantafa di Emanuele Scaringi o il ritorno di Paolo Strippoli con Piove – che non sempre hanno saputo cogliere pienamente nel segno, portando in sala prodotti di certo non privi di difetti ma che dimostrano una volontà di mettersi in gioco di molti nuovi nomi.

Tra questi si inserisce anche Andrea Niada, italiano cresciuto a Londra e che già si era fatto notare da una folta schiera di appassionati grazie al suo cortometraggio Home Education, distribuito in numerosi festival nel 2016. A sette anni di distanza, lo stesso Niada riprende il soggetto del suo corto e lo trasforma in un lungometraggio che vede nel cast Kate Reed, Julia Ormond e Rocco Fasano e con alle spalle il supporto di Warner Bros.

Un incantevole inferno

In un’isolata casa nei boschi calabresi vivono Carol e la figlia Rachel, giovane ragazza molto introversa che non frequenta la scuola e la cui educazione dipende esclusivamente dalla madre. Assieme a loro vive anche il padre Philip, apparentemente in uno stato catatonico – forse morto? – immobile sdraiato in un letto in soffitta. Le due però non sembrano preoccupate in quanto l’uomo parrebbe essere in procinto di “tornare”, l’importante è non smettere mai di dubitare. Tutti questi elementi erano già presenti nel cortometraggio, che nella fugace durata di 26 minuti costruiva un’ottima atmosfera ricca d’inquietudine e di ansia soprattutto grazie alle ottime performance delle attrici protagoniste. Nella decisione di “ampliare” il racconto, si riempiono gli spazi con un marcato approfondimento psicologico sia della giovane protagonista che della madre, approfondendo il loro stile di vita solitario, lo studio ed il rapporto che sempre più si incrina tra le protagoniste con il procedere della vicenda in cui gioca un ruolo centrale l’inedito Dan, giovane ragazzo che sembra manifestare interesse per Rachel rischiando di rompere la campana di vetro sotto la quale la giovane sembra essere costretta a vivere.

Julia Ormond è Carol, la madre ed insegnante di Carol

Ciò che senza dubbio il film manifesta in modo migliore rispetto al cortometraggio sono gli ambienti, qui spiccatamente rurali e naturali, vivi e colorati ma al tempo stesso pieni di morte soprattutto a causa delle misteriose componenti magiche che sembrano ruotare attorno ai personaggi. Misteriosi visioni ed inquietanti suoni permeano infatti la vita di Rachel, sensibile come il padre ad un “mondo di là” popolato di oscurità e decadenza. Se all’apparenza si può trovare un non troppo velato rimando al Sottosopra di Stranger Things, l’intelligenza di Niada sta proprio nel rendere questo posto un’idea prima che una realtà vera e propria che dai personaggi si trasferisce allo spettatore e che proprio come i protagonisti non può far altro che aspettare qualche segnale, esso sia un misterioso fischio simile ad un grido o qualche sequenza onirica ricca di spunti visivi.

Angoscia, non terrore

Se la regia si dimostra particolarmente calzante, aiutata da un ottimo montaggio e da un sopraffino comparto sonoro, ciò che si dimostra come vero e proprio “tallone d’Achille” è la sceneggiatura: il dilungarsi delle vicende finisce infatti per riempire il racconto di tempi morti e di azioni ripetute, dimostrando l’incapacità di trovare delle alternative interessanti alle idee già messe in scena nel cortometraggio. Il personaggio stesso di Dan si percepisce come un’aggiunta utile nei primi momenti ad approfondire l’elemento soprannaturale ma che finisce per arenarsi presto in un guscio vuoto senza capo né coda, a cui la recitazione di Rocco Fasano certo non aiuta quasi da contraltare alle invece ottime interpretazioni di Julia Ormond ma soprattutto della giovanissima Kate Reed.

La sorprendente Lydia Page nei panni di Rachel

Altro elemento che può destare più di qualche problematicità all’interno del racconto è il suo obiettivo finale. Quello che vuole fare Niada non è infatti costruire un horror che terrorizzi o spaventi nel senso più classico del termine – e ciò lo dimostra la totale assenza di jumpscare – quanto piuttosto di raccontare una storia di abusi e di rapporti tossici tra una madre ed una figlia in un nucleo famigliare permeato al tempo stesso da credenze magiche: queste ultime servono infatti soltanto ad acuire il senso di disagio, non a generarlo. Proprio su questo elemento, senza eccedere negli spoiler, la pellicola arriva quasi al punto di far dubitare di ciò che lo spettatore sta vedendo, dando credito alle dicerie che additano la protagonista semplicemente come una ragazza disturbata che necessita soltanto appropriate cure mediche.

L’ultima parola spetta quindi al pubblico: se ciò che cerca è infatti un horror capace di sconvolgere, spaventarlo e non farlo dormire la notte grazie a mostri spaventosi o suoni terrificanti, non potrà allora fare a meno di rimanere deluso davanti a questo film; se invece si è disposti a lasciarsi trasportare in un racconto lento ed angosciante ricco di spunti visivi e tematiche interessanti – ed a passare oltre alcuni evidenti difetti soprattutto di ritmo – allora quest’opera prima di Andrea Niada merita senz’altro almeno una visione.

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Mattia Bianconi,
Redattore.

December 9, 2023
Recensione Coup de chance – Il cinquantunesimo film di Woody Allen

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Il cinquantesimo film di Woody Allen, presentato fuori concorso alla 80esima Mostra del Cinema di Venezia, raccoglie in sé tutte le tematiche e i canoni estetici che hanno caratterizzato la carriera del regista, a partire dal titolo: Coup de Chance (Un colpo di fortuna). È ambientato a Parigi, dove la protagonista, Fanny (Lou de Laâge) vive una vita tranquilla e molto agiata con Jean (Melvil Poupaud), il suo secondo marito. L’incontro casuale con un vecchio compagno di liceo, Alain (Niels Schneider), la spinge improvvisamente a rimettere tutto in discussione: lui coglie l’occasione per confessare di essere sempre stato innamorato di Fanny, e lei si rende conto, suo malgrado, di ricambiare con molta più passione di quella che prova per il marito.

I due iniziano una relazione clandestina, ignari del fatto che Jean, uomo possessivo ed estremamente influente in città, li abbia scoperti. Questo personaggio incarna l’antitesi della filosofia di Woody Allen, è abituato a manipolare la realtà a suo piacimento e non crede che la fortuna sia una forza ingovernabile. È attraverso di lui, inoltre, che si inserisce un elemento di inquietudine in quella che altrimenti avrebbe tutte le premesse e lo sviluppo di una commedia leggera. L’unica a sospettare qualcosa è Camille, la madre di Fanny in visita da New York, a cui la figlia non vuole dare ascolto. La metropoli americana non poteva mancare in questo compendio del cinema di Allen: il liceo dove Fanny ha conosciuto Alain era lì, e da lì proviene quindi la vita entusiasmante del passato che irrompe nella mondanità della borghesia parigina. La città viene citata esplicitamente poche volte da Fanny ma il contrasto netto tra le due versioni della sua vita, insieme ai ruoli di Alain e Camille che si contrappongono a Jean, rendono New York presente anche a Parigi, come se non solo i personaggi e le idee ma anche lo scenario avesse bisogno della sua antitesi concreta.

Il film mantiene un delicato equilibrio tra dramma e commedia, soprattutto nella prima parte, ma senza mai allontanarsi troppo dalla seconda: nonostante fosse stato annunciato come un thriller, di questo genere si colgono solamente degli indizi abbozzati. Inoltre, la fotografia di Storaro con i colori iper saturati e la colonna sonora prevalentemente jazz contribuiscono all’atmosfera romantica e mai troppo cupa.

Da una parte si tratta quindi di una pellicola piacevole e nella quale la cifra stilistica di Woody Allen è riconoscibile. Il caso rimane, lungo tutto l’arco narrativo, il vero padrone degli eventi: alcune decisioni dei personaggi ottengono un risultato, alcune cadono nel vuoto, ad altre si somma un elemento esterno a dirottare le conseguenze; mentre Jean si arrabbia e mobilita la sua rete di malavitosi per cercare di aggiustare man mano il corso della storia. Fanny dal canto suo reagisce istintivamente adattandosi ogni volta al contesto in cui si trova, non con indifferenza totale ma in maniera perlomeno docile, atteggiamento reso palese dalle dinamiche che si creano a seconda che si trovi con il marito o con l’amante. Dal punto di vista di questo discorso sull’esistenza o meno della fortuna, le scene finali sono intelligenti e ben orchestrate.

Dall’altra parte purtroppo lo svolgersi del racconto risulta poco coinvolgente a causa di una sceneggiatura rigida e a tratti trascurata, dalla quale la famosa ironia alleniana non riesce ad emergere appieno, e da una esecuzione non particolarmente appassionata. L’impressione che si ha è che il fatto che si tratti del suo primo film girato in francese, anziché in inglese, possa aver penalizzato il lavoro. I dialoghi sono spesso descrittivi ed aggiungono poco a quello che viene già mostrato, che è una serie di eventi semplici messi in moto da premesse abbastanza stereotipate. Al di là dell’ambientazione interamente francese e di alcuni dettagli, come l’uso dei colori, non si tratta sicuramente di un lavoro innovativo rispetto ai precedenti.

Nell’insieme, Coup de chance è una commedia discreta, un esercizio di stile indubbiamente ben confezionato ma povero di sostanza.

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Federica Rossi,
Redattrice.

December 8, 2023
Recensione Diabolik – Chi sei?: il capitolo finale sul Re del Terrore

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Arriva al cinema la conclusione della tanto discussa trilogia dei Manetti Bros. dedicata al personaggio creato dalle sorelle Giussani. Un’operazione a dir poco coraggiosa da un punto di vista produttivo, con la realizzazione in contemporanea del secondo e terzo film, quanto commercialmente fallimentare visto il basso riscontro di pubblico. La scelta dei registi di realizzare un’opera fedele al materiale di partenza, tramutando le tavole degli albi in film dallo stile e dal ritmo “fumettistici”, non è riuscita a ottenere l’apprezzamento degli spettatori, a causa di una messa in scena altamente artificiosa e prestazioni attoriali spesso non all’altezza della produzione, ma coerenti con il tono e le atmosfere che i film volevano trasmettere. Tuttavia, proprio per queste ragioni, il primo film della trilogia, a parere di chi scrive, aveva a sua disposizione più di un elemento interessante, proprio per questa scelta di messa in scena a dir poco sovversiva e anticommerciale, che lo distingueva dal piattume delle produzioni basate sui fumetti che hanno infestato i cinema negli ultimi anni. Il secondo capitolo tuttavia, oltre al cambio di attore nel ruolo principale, con il passaggio da Luca Marinelli a Giacomo Gianniotti come interprete di Diabolik, mostrava il fianco a una certa stanchezza risultando un film poco convincente.

Dopo la visione si può affermare che Diabolik – Chi Sei?, pur non tornando ai livelli del primo capitolo, risulta essere un notevole passo avanti rispetto al secondo, risultando una più che degna conclusione della trilogia dedicata al Re del Terrore, nonché il film più cupo. Un elemento che nessuno dei tre film ha mai sbagliato è il prologo, in questo caso costituito da una sequenza di grande tensione con protagonista Carolina Crescentini, seguita da una serie di scene action sanguinolente mai presenti in così grande quantità nei film di Diabolik. Soprattutto nella prima parte della pellicola, i rimandi a Milano Calibro 9 sono molteplici, suggellati dalla presenza in un cameo di Barbara Bouchet, a cui si rimanda anche in una scena di spogliarello che ricorda la danza della stessa Bouchet all’interno del capolavoro di Fernando Di Leo.

Mai come in questo film è centrale il rapporto tra Ginko e Diabolik, con il primo che ha finalmente la possibilità di scoprire la storia del suo nemico da cui è tanto ossessionato. Spesso i due sono posti ai margini della stessa inquadratura, camminano nella stessa strada ma passando per due percorsi diversi, Diabolik nell’oscurità e Ginko alla luce, in un continuo confronto a distanza ravvicinata. Giacomo Gianniotti continua a non convincere pienamente nella parte recitativa se non nei momenti in cui deve risultare minaccioso, nonostante visivamente sia il Diabolik perfetto e abbia il physique du rôle per interpretare il personaggio. Dopo il primo film con protagonista Eva Kant, un secondo dedicato a Ginko, questa terza parte è finalmente dedicata a Diabolik e alle sue origini, messe in scena attraverso flashback che hanno il difetto di rallentare il ritmo del film. Sequenze che restano tuttavia assolutamente suggestive, ambientate su un‘ isola, con scenografie e atmosfere che ricordano i film horror anni ‘60.

Questo approfondimento sul protagonista limita fortemente lo spazio dedicato agli altri personaggi, ognuno dei quali compie tuttavia il proprio percorso evolutivo iniziato nei precedenti film, chiudendo il cerchio. Mastandrea si conferma un perfetto Ginko, mentre l’Eva Kant di Miriam Leone, nonostante sia fondamentale ai fini della trama, ha poco minutaggio, forse in conseguenza della gravidanza che stava portando avanti l’attrice durante le riprese, che ne limitava i ruoli più dinamici. Più spazio viene invece dedicato all’Altea di Monica Bellucci, che per quanto resti un’attrice di indubbio fascino capace di lavorare col proprio corpo e i propri movimenti, nel momento in cui recita le battute del copione raggiunge risultati disastrosi. Unico elemento veramente di contrasto rispetto a una recitazione, rispetto ai capitoli precedenti, di stampo decisamente più realistico e meno retrò, favorendo la visione da parte dello spettatore e rendendo Diabolik – Chi Sei? il film più classico della trilogia, pur mantenendo una certa rigidità nella sceneggiatura e tutti gli altri elementi di atmosfera che han caratterizzato l’opera dei Manetti Bros. Completano il comparto attoriale, oltre alla già citate Crescentini e Bouchet, Pier Giorgio Bellocchio che torna ad interpretare l’agente Palmer, Paolo Calabresi nei panni insoliti di un criminale, e i simpatici camei di Max Gazzè e Amanda Campana nei ruoli di due alter ego di Diabolik ed Eva Kant.

La colonna sonora, firmata dal duo Pivio e Aldo De Scalzi, si conferma di pregevole fattura, oltre che costantemente presente, con rari momenti di silenzio all’interno del film. La canzone del film è invece stata prodotta dal celebre gruppo Calibro 35, che vantano all’interno della loro discografia diverse colonne sonore per ipotetici film mai realizzati, e cantata da Alan Sorrenti. Si conferma la cura a livello di design degli interni che contribuiscono a rendere Clerville una realtà tangibile e a catapultare lo spettatore in un’altra epoca.

I Manetti Bros. giungono alla conclusione della loro trilogia cinematografica dedicata al Re del Terrore, un’opera basata su una scelta stilistica vintage ben precisa che ha fatto storcere il naso a più di uno spettatore, ma portata avanti in maniera coerente fino alla fine e risultando a conti fatti, uno dei progetti cinematografici italiani più interessanti prodotti negli ultimi anni. La disaffezione del pubblico verso il prodotto sembra tuttavia ormai confermata a dimostrazione che la scelta, per quanto originale, non si sia rivelata come previsto intelligente da un punto di vista commerciale.

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Luca Orusa,
Caporedattore.

December 2, 2023
Recensione Birth/Rebirth – Torino Film Festival 2023

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Birth/Rebirth, opera prima della regista Laura Moss presentata nella sezione Crazies del Torino Film Festival 2023, è un mix moderno tra Frankenstein e Cronemberg, con protagoniste Marin Ireland e Judy Reyes, il volto di Carla in Scrubs, che qui torna nell’ambiente ospedaliero.

Rose è una patologa forense che predilige il silenzio dei cadaveri ai tumulti delle interazioni sociali. Una sua ossessione segreta è la rianimazione dei morti. Celie è un’ostetrica la cui vita ruota attorno alla sua briosa e loquace figlia di sei anni, Lila. La tragica notte in cui Lila si ammala e muore improvvisamente, le vite di queste due donne s’intrecciano in modo irrevocabile. Si avventureranno lungo un buio sentiero da cui non c’è ritorno; e saranno costrette a confrontarsi con i limiti che sono disposte a superare per proteggere ciò che più amano.

La soggettiva di un parto apre il film, a rimarcare l’importanza dell’atto della nascita all’interno della pellicola, interamente incentrata sul concetto di maternità e su cosa si è disposti a fare per tenere in vita i propri figli. Rose e Celie, due personaggi agli antipodi all’inizio del film, sociopatica, fredda e schiva la prima, materna e gentile la seconda, durante la loro evoluzione fanno proprie le caratteristiche della partner in crime, vivendo un ribaltamento di ruoli. Rose sviluppa un sentimento materno nei confronti di Lila, mentre Celie sprofonda progressivamente nell’abisso del male, diventando una persona prevaricatrice e capace di sacrificare tutto e tutti pur di tenere in vinta la propria figlia. E’ particolarmente interessante il percorso di Celie a livello concettuale: è proprio lei all’interno del film ad avere un’evoluzione in negativo, interpretata da Judy Reyes, l’iconica Carla di Scrubs, personaggio molto sensibile e dalla bontà innata, con un ribaltamento di ruoli rispetto a Rose, e rispetto anche ai precedenti ruoli dell’attrice stessa.

Tra budella umane realizzate con ottimi effetti pratici, pratiche illegali ed esperimenti scientifici in cui Rose gioca a fare dio e a riportare in vita una bambina nel Bronx, le due protagoniste “rinasceranno” in persone nuove, non necessariamente con una connotazione positiva, costrette a portare con loro il fardello delle loro scelte.

Se da un lato la regia della Moss è capace di trasmettere una sensazione di malessere perenne estremamente funzionale al racconto, dall’altro il rigore scientifico e la freddezza della messa in scena, della storia e dei personaggi, soffocano la componente umana che avrebbe giovato alla caratterizzazione delle protagoniste e avrebbe facilitato l’empatia dello spettatore nei loro confronti, verso cui non si prova mai alcun tipo di sentimento. Inoltre qualsiasi tipo di ragionamento sull’etica delle azioni compiute viene lasciato in secondo piano se non totalmente azzerato, una mancanza non da poco visto il tema su cui viene costruita tutta la narrazione. Quello che resta è un film tutto sommato godibile, ma col freno a mano tirato, incapace di colpire davvero lo spettatore e di convincere fino in fondo.

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Luca Orusa,
Caporedattore.

December 2, 2023
Recensione Soleils Atikamekw – Torino Film Festival 2023

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Chloé Leriche torna al Torino Film Festival dopo la partecipazione nel 2016, presentando il suo secondo lungometraggio nel concorso principale di questa edizione. A cavallo tra documentario e finzione, la storia narra della tragedia vissuta dalla comunità indigena degli Atikamekw nel 1977.

Il 26 giugno di quell’anno, un veicolo precipita in un fiume poco fuori dalla comunità Atikamekw di Manawan, nel nord del Québec. Due persone di origine non indigena sopravvivono all’incidente, ma cinque membri della comunità Atikamekw perdono la vita. La polizia conclude le indagini dichiarando che si è trattato di un incidente, ma per le famiglie delle vittime molte domande rimangono ancora senza risposta (fonte Torino Film Festival).

Se da un lato il tema del film non può che ricordare l’ultima opera di Martin Scorsese, e in questo senso Soleils Atikamekw è definibile come l’anti Killers of the Flower Moon. Non esiste epica all’interno del film della Leriche, costruito tutto sulla reazione come comunità degli Atikamekw alla tragedia avvenuta, elemento quasi completamente trascurato all’interno del film di Scorsese. Una comunità gioiosa che nel film dopo il lutto viene ritratta come composta da spettri che si aggirano nella notte, persone trasformate nei fantasmi di loro stesse dopo aver perso i propri cari. Questo elemento insieme ai segnali provenienti dall’al di là comunicati attraverso la luce del sole, aggiungono al mix tra documentario e finzione un’interessante componente di realismo magico.

Come nel film di Scorsese il bianco abbatte e uccide, sottolineato dalla scena più riuscita del film in cui i probabili assassini attraversano un corridoio di alberi abbattuti. Una foresta massacrata, come gli Atikamekw, che fanno del loro contatto con la natura una parte essenziale della loro vita. L’acqua del lago, dove sono stati ritrovati i cadaveri, possiede una memoria e per superare il lutto è necessario immergersi nel luogo dell’accaduto, cessando di avere paura di esso. La polizia si disinteressa totalmente al caso, bollandolo come l’ennesimo evento problematico causato dagli indigeni.

La Leriche è brava nel trasmettere una sensazione di inquietudine costante e di tragedia imminente nella prima parte della pellicola, messa in scena con un gusto visivo raffinato che può ricordare il cinema di Kelly Reichardt. Anche il disinteresse della polizia e la frustrazione della comunità per la mancata giustizia hanno un ruolo centrale nella narrazione.

Il problema principale che contribuisce alla non riuscita totale del film è la mancanza di quantità di materiale sufficiente a reggere tutti i 100 minuti dell’opera. A metà della durata complessiva la pellicola va inesorabilmente ad arenarsi in una ripetizione continua di ciò che era stato mostrato precedentemente, perdendo mordente e depotenziando il messaggio che voleva trasmettere. Una grande occasione mancata visto il tema del film e il grande numero di intuizioni visive che la regista sfodera nella prima parte dell’opera.

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Luca Orusa,
Caporedattore.

November 29, 2023
Recensione Kubi di Takeshi Kitano – Torino Film Festival 2023

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A sette anni di distanza dal suo ultimo film, torna al cinema Takeshi Kitano con la sua ventesima opera da regista, uno Jidaigeki presentato al Festival di Cannes, che coniuga perfettamente due elementi propri del regista giapponese: la violenza e la comicità dissacrante. Kitano mette le cose in chiaro riguardo le sue intenzioni sin dal titolo del film, il cui ideogramma viene mozzato, per poi essere seguito da una collezione di corpi martoriati in un fiume.

Desiderando estendere il suo potere a tutto il Giappone, il signore della guerra Oda Nobunaga fu coinvolto in feroci battaglie con gli eserciti dei clan Mouri, Takeda e Uesugi, oltreché con le forze al servizio dei templi e dei santuari di Kyoto. Nel frattempo, il vassallo di Nobunaga, Murashige Araki, organizzò una ribellione e scomparve rapidamente. Nel frattempo il vassallo Hashiba, insieme a suo fratello Hidenaga e allo stratega militare Kuroda Kanbei, elaborò un piano per sottrarre il potere a Nobunaga e prendere lui stesso il controllo del Giappone (fonte Torino Film Festival).

Con questa opera Kitano prosegue il percorso di decostruzione del genere iniziato con Zatōichi, facendo letteralmente a pezzi a colpi di katana il concetto di Jidaigeki. In questo senso la violenza, di stampo assolutamente fumettoso e surreale e onnipresente all’interno del film, è assolutamente funzionale al concetto di distruzione e massacro dello regole del genere, regole rappresentate dai personaggi stessi, che devono essere uccisi nella maniera più violenta possibile. Kitano prende tutte gli stilemi quali l’onore, il coraggio e la lealtà tipiche dei samurai e li ridicolizza.

Due sono i principali schieramenti del film che si costituiscono tra gli innumerevoli personaggi. Da un lato il signore della guerra Nobunaga è un adolescente dai modi infantili capace di atti oltre il limite della crudeltà, che agisce per pura gelosia nei confronti dei propri amanti. In questo senso Kitano torna a mettere in scena dell’omosessualità tra i samurai come già aveva realizzato Oshima nel su Tabù – Gohatto. Dall’altro Hashiba, interpretato dal regista stesso, è un anziano impacciato che si diverte a mettere alla berlina tutte le persone che lo circondano. Non è un caso che Hashiba sia impersonato da Kitano stesso, che si trasforma metacinematograficamente in regista anche all’interno della narrazione, prendendosi gioco dei personaggi e demolendo il genere dal suo interno.

Il film, a trazione esclusivamente maschile, è una collezione di parassiti pronti ad abbandonare le proprie mogli in cerca di gloria, di codardi sempre favorevoli a farsi sostituire in battaglia da controfigure per evitare di andare incontro alla morte, di preti disposti a uccidere pur di ottenere la costruzione di una chiesa.

Kitano costruisce la narrazione a partire da sequenze ironiche e mai epiche, neanche nelle grandi battaglie campali, massacrando ad uno a uno i vari personaggi e le tradizioni: neanche l’harakiri viene preso seriamente, con Hashiba che si lamenta delle lente tempistiche dell’esecuzione dell’atto.

Con Kubi Kitano torna al cinema con una commedia irresistibile, costruita su una lenta ma inesorabile trasformazione dello Jidaigeki in film demenziale, che conferma come il grande regista abbia ancora alcune frecce al suo arco e sia capace di innovare non curandosi delle regole che il genere cinematografico impone. Certamente nel caso in cui queste frecce dovesse tirarle Hashiba, farebbe eseguire l’atto a uno dei suoi sottoposti per poi prendersi gioco di lui.

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Luca Orusa,
Caporedattore.

November 29, 2023