FRAMES CINEMA

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  • Recensione Saturday Night – Una notte irripetibile

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    Anche per gli standard da biopic, Saturday Night di Jason Reitman è uno di quei prodotti la cui leggibilità, per ovvie ragioni, dipende in misura pressoché esclusiva dal livello di cultura televisiva del singolo. Da noi il Saturday Night Live è arrivato perlopiù in maniera indiretta, tramite le carriere cinematografiche di alcuni dei suoi protagonisti più noti.

    Negli Stati Uniti è una colonna portante dell’immaginario collettivo, privilegiato punto di vista del pubblico americano liberal che ha fatto da rampa di lancio per molte carriere di comici – John Belushi, Bill Murray, Eddie Murphy, Adam Sandler, Amy Poehler fra i tanti – e fatto naufragare quella di altri – un’edizione con Robert Downey Jr. particolarmente famigerata in questo senso -; tanto premiato quanto criticato.

    La grande scommessa

    Ultime ore dell’11 ottobre 1975. Le strade di Manhattan sono intasate dal traffico di fronte a Rockfeller Plaza, sede degli NBC Studios. Il pubblico americano si aspetta una serata come le altre o, in alternativa, una replica del Tonight Show con Jimmy Carson per riempire la serata, ma il giovanissimo produttore Lorne Michaels e l’executive Dick Ebersol hanno tra le mani una potenziale bomba: uno show che neppure Michaels è in grado di descrivere, una sequenza di momenti live nello spazio di un’ora e mezza, sulla sola base di una scaletta di post-it che basta per tre ore di show. Protagonista, un eterogeneo cast di comici ventenni insicuri e casinisti, che trascorrono la serata interrogandosi sul proprio ruolo nello show, intrattenendosi con sostanze più o meno illecite e litigando con il sistema della censura. L’ora di andare in onda si avvicina, e niente sembra andare per il verso giusto.

    Saturday Night è raccontato in tempo quasi reale, aggiungendo una dimensione da pseudo thriller alla cronaca dell’ora e mezza precedente alla messa in onda dello show. Un piccolo miracolo della televisione, insiste a più riprese la sceneggiatura di Reitman e Gil Kanan, e non solo per gli imprevisti – set in fiamme, impianto luci che crolla, licenziamenti e aggressioni – in vista del momento fatidico della diretta. Ma la riuscita dello show va oltre le carriere dei giovanissimi performer e del creatore: è in gioco anche il confronto tra concezioni differenti del medium. Tra i protagonisti vecchio stampo di una televisione al tramonto e una nuova concezione del mezzo, anarchica espressione del milieu mediatico-culturale dell’epoca che, in tutt’altro medium audiovisivo, si respirava nel pieno della New Hollywood. Uno sforzo collettivo che richiede la stessa dose di follia necessaria per portare a termine un film.

    Live from New York

    Una lunga notte di un’ora e mezza che si concede pochi momenti di respiro, incalzata dai piani sequenza negli affollati corridoi del backstage, dal ritmo vorticoso della colonna sonora di Jon Baptiste (anche interprete di Billy Preston), qui e lì percorsa da ombre di nostalgia per questo fenomeno inatteso e di malinconia per alcuni dei suoi personaggi, il cui destino è ben noto. Talmente affollato e frenetico, questo tour nel backstage della NBC, che non rimane molto tempo per approfondire altro.

    Si potrebbe insinuare che, nonostante l’insistenza di Saturday Night il film nel sostenere che Saturday Night il programma non fosse solo un club di maschietti bellicosi, alle protagoniste femminili sia riservato un ruolo poco più che da placeholder. Ma tutti i personaggi vivono esclusivamente dei loro tic distintivi, versioni solo leggermente esagerate delle persone reali (John Belushi il talento volatile; Chevy Chase lo showman egoriferito; Milton Berle la star televisiva dal pene sovradimensionato) talvolta efficaci sul piano comico, un po’ meno per una conoscenza che vada oltre quella pregressa dei loro referenti reali. Questo nonostante gli sforzi del cast di giovanissimi in ascesa (Gabriel LaBelle, Rachel Sennott, Ella Hunt) accanto a volti noti, tutti dediti a cavare il più possibile da ruoli di carta. L’incredibile successo dello show è merito di un lavoro collettivo che valorizza le eccentricità individuali e lo sforzo del duo di sceneggiatori punta soprattutto a far risaltare il demiurgo Lorne Michaels. Figura certo fondamentale per la storia del medium, ma non esattamente il personaggio più esplosivo.

    Competente commedia agrodolce, il film risulta essere principalmente un’operazione nostalgia per una stagione irripetibile nella storia dello showbiz americano, con tutti i limiti del caso. Se l’identità di Saturday Night è così strettamente legata all’originale che non aspira a molto altro se non a creare un’ora e quaranta di intrattenimento per omaggiarne i talenti, potrebbe perlomeno invogliare qualcuno a recuperare su Youtube clip e vecchi episodi dello show. Live from New York, it’s Saturday Night once again.

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    Valentino Feltrin,
    Redattore.

  • Recensione Ghostbusters Minaccia Glaciale – La maledizione dei sequel

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    Ghostbusters – Minaccia Glaciale (Frozen Empire nel titolo originale) è il quarto capitolo del celebre franchise (il reboot diretto da Paul Feig nel 2016 non si considera parte del canone) nonché il sequel diretto di Legacy (Afterlife), uscito nel 2021.

    Diretto questa volta da Gil Kenan, il nuovo film riporta lo spettatore dove tutto era iniziato: nella vecchia caserma dei vigili del fuoco di Manhattan, dove ora si è stabilita Callie (Carrie Coon) insieme a Gary (Paul Rudd) e i figli, interpretati da McKenna Grace e Fin Wolfhard.  La famiglia porta avanti l’attività degli acchiappafantasmi, minacciata dallo storico rivale Walter  Peck, che nel frattempo è diventato sindaco della città e ha quindi l’autorità per far sequestrare la caserma. Ray (Dan Aykroyd)  intanto, aiutato dal giovane Podcast, colleziona manufatti posseduti. Entra così in possesso di una misteriosa sfera di ottone: dato che potrebbe trattarsi di una trappola apotropaica, Winston (Ernie Hudson) in seguito la porta nel suo laboratorio. Qui una squadra di ricercatori sta lavorando a un macchinario sperimentale in grado di separare gli spiriti da oggetti e corpi umani. Ci troviamo a seguire due indagini parallele, una dentro il laboratorio e una fuori, quest’ultima portata avanti da Phoebe, Ray e Podcast. Ritroviamo tutte le icone dei primi film, dalla Ecto-1 a Slimer fino alla colonna sonora,  insieme a dinamiche nuove come quella dello scontro tra Phoebe ormai adolescente e la sua famiglia, o quelle tra gli acchiappafantasmi “nuovi” e i “vecchi”.

    Inserire personaggi nuovi, in aggiunta a quelli già apparsi in Legacy, ciascuno con il proprio background, è un’arma a doppio taglio. Da una parte poteva servire a sostenere gli sviluppi nella narrazione e ad arricchirla, come nel caso di Nadeem (Kumail Nandjani): grazie al maestro del fuoco si esplora una versione più mitologica e ancestrale del paranormale, il personaggio inoltre funziona abbastanza bene nella dinamica generale. L’antagonista introdotto attraverso questa linea del racconto, il dio-fantasma Garraka, costituisce una delle parti più interessanti della storia. Dall’altra parte l’espansione di un universo andrebbe pianificata nei dettagli per evitare l’effetto di affollamento e confusione, che qui purtroppo si avverte fin dalle prime scene.

    La pellicola punta sulla quantità di personaggi e sottotrame, e ancora di più sull’evidente operazione nostalgia che ha guidato sia la scelta delle musiche che l’introduzione ed alcune battute estremamente autoreferenziali. Si tratta di strategie che funzionano in quanto abbellimenti, ma che non possono sostituire una sceneggiatura solida. Questo è il primo problema che si nota: una sceneggiatura banale, che lascia la sensazione di essere stata preparata in fretta.

    Tuttavia il problema che a nostro avviso pesa di più sulla mancata riuscita dell’operazione non è tanto la prevedibilità della trama, che si potrebbe tranquillamente accettare, trattandosi di un film pensato per essere puro svago; quanto la scarsità proprio di elementi di intrattenimento. Gran parte della pellicola è dedicata a dialoghi tra i protagonisti o a racconti che si protraggono più del necessario, appesantendo il ritmo e finendo per diluire anche l’effetto dei momenti comici, questi ultimi mai particolarmente incisivi. L’azione si concentra quasi del tutto nei minuti iniziali e poi nell’ultima mezz’ora, anche questa inframezzata da siparietti che, anziché stemperare l’adrenalina del momento, la affossano completamente.

    Si cerca di ampliare, e quindi prolungare nel tempo, un franchise che partiva da presupposti relativamente semplici, e che avrebbe quindi bisogno di più elaborazione per giustificare l’avere più di un sequel. Minaccia Glaciale può meritare una visione da parte dei fan più affezionati, ma non è all’altezza dell’esperienza che ha cercato di riprodurre. Al momento circolano speculazioni su un quinto capitolo ma la notizia non è confermata.

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    Federica Rossi,
    Redattrice.