FRAMES CINEMA

Tag: marianna cagnazzo

  • Settant’anni di Totò Peppino e… la malafemmina

    Settant’anni di Totò Peppino e… la malafemmina

    Un comfort movie è un prodotto rassicurante che suscita familiarità in chi lo guarda: è un ritorno a casa, una coperta di Linus, una stanza piena di volti conosciuti. I personaggi diventano quasi dei parenti, le parole che stanno per pronunciare sono già attese e si percepisce un’impressione di consuetudine appagante. Tra i titoli che mi danno questa sensazione c’è sicuramente Totò, Peppino e… la malafemmina. Non ricordo esattamente la prima volta in cui l’ho visto, perché rappresenta per me una certezza, una personale categoria dello spirito.

    Il lungometraggio, nel 1956 stroncato dalla critica e acclamato dal pubblico, trae ispirazione dalla celebre canzone composta dal principe della risata sul retro di un pacchetto di sigarette e dedicata alla moglie Diana Rogliani. Il brano è interpretato nel film da Teddy Reno, al quale furono affidate diverse esibizioni canore. Non possiamo parlare di musicarello, ma l’utilizzo ricorrente della melodia classica napoletana conferisce ad alcune scene l’atmosfera di quel sottogenere cinematografico.

    Quest’anno l’iconica pellicola diretta da Camillo Mastrocinque compie 70 anni e, malgrado il tempo trascorso, si conferma un’irresistibile commedia che si lascia guardare e di cui probabilmente si parla troppo poco.

    La ripetizione e l’equivoco

    In un paesino di campagna nei pressi di Napoli due uomini si muovono su un calesse e intonano a gran voce “na femmena busciarda m’ha lassato”, lanciando pietre sul vetro dell’abitazione del vicino e scappando come dei bambini felici. La marachella si ripete più volte, perché il motore che alimenta il divertimento è la reiterazione. Lo scheletro della comicità si costruisce, sequenza dopo sequenza, attraverso la caratterizzazione dei fratelli Caponi che si presentano allo spettatore grazie alla continua riproposizione di gag e battute, spesso avvalorate da un contatto fisico (la frusta, la ruota, l’incidente con il trattore).

    Antonio (Totò) e Peppino (De Filippo) ci palesano immediatamente i loro tratti distintivi: il primo si prende gioco della parsimonia e dell’ingenuità del secondo, millantando conoscenze della vita che in effetti non ha.
    La sorella (Vittoria Crispo) invece, molto più vispa e sensibile dei due, viene relegata a una posizione di subordinazione che non le appartiene e sarà infatti l’unica a comprendere i malintesi che si avvicenderanno. L’altra costante sono appunto gli equivoci, la narrazione è coadiuvata dal continuo fraintendimento alimentato dall’atteggiamento approssimativo dei protagonisti. Tutti galleggiano su una verità semplice che non sono in grado di conoscere in profondità ed è proprio la genuinità a produrre l’umorismo.

    La comunicazione

    La parola scritta è fondamentale: è un biglietto inviato da una ragazzina gelosa a innescare la trama e soprattutto è una lettera sgangherata a rendere memorabile l’intera vicenda. Ettore Scola (allora aiuto regista) diede l’idea, i due attori improvvisarono e il resto è storia.

    Totò scandisce solenne le frasi in un italiano arrangiato e Peppino le riporta su un foglio con estrema difficoltà, sudato e stanco per l’impegno profuso. La punteggiatura è per loro sinonimo di abbellimento retorico e quindi perché non usarla in eccesso? D’altronde bisogna convincere la soubrette Marisa (Dorian Gray) a lasciare il nipote Gianni e la sola somma di denaro a lei destinata non basterebbe. La valenza simbolica di tale momento ha dato origine a numerose reinterpretazioni, una fra tutte quella indimenticabile di Troisi e Benigni in Non ci resta che piangere.

    La comunicazione è il fulcro del racconto e le barriere linguistiche si impongono nell’istante dell’arrivo a Milano. La parte opposta dell’Italia è percepita come un territorio straniero, nel quale la lingua è differente e il clima si suppone sia rigido a prescindere dalle stagioni (è necessario indossare il colbacco malgrado il calore). Il milanese è un alieno e prima di partire occorre istruirsi con chi ha varcato il “confine”. Ci sarà la nebbia? Quanti giorni impiegheranno? Gli abitanti del posto avranno lo stesso modo di camminare?

    Gli ostacoli dell’interazione verbale generano la battuta, causano ilarità. Il divario tra il nord e il sud è evidente, ma si trasforma in un pretesto spiritoso. Così l’improbabile richiesta a un vigile urbano (“noio volevan savuar”) rimane impressa sullo schermo, è l’istantanea di un’epoca in cui il progresso tardava ad arrivare in alcune zone della nazione, nonostante il boom economico.

    Lo stereotipo, usato in chiave ironica, mitiga quelle differenze tangibili e diviene motivo di unione. Qualcuno direbbe che si tratta di una raffigurazione semplicistica della realtà, ma il cinema può tutto e chi siamo noi per impedirglielo?

    Maria Cagnazzo

    Redattrice

  • Recensione Il tempo che ci vuole – Il legame tra padre e figlia attraverso il cinema

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    Un microcosmo abitato da un padre e una figlia, costantemente seguiti da una camera che lascia poco spazio al resto e che sta attenta a sottolineare i passi di ciascuno dei due. Il tempo che ci vuole di Francesca Comencini pone l’accento su una coppia di personaggi, incastrando lo spettatore in un corridoio di una casa romana, un punto di passaggio attraverso il quale assistiamo allo scorrere degli eventi.

    Con questo lungometraggio la regista decide di raccontare il rapporto con suo padre Luigi, mettendo in scena una storia intima e tenera. Non esistono altri membri della famiglia e nell’abitazione in cui molte sequenze sono ambientate c’è solo lo studio di lui da una parte e la stanza di lei dall’altra. Tutta la cornice è fuori fuoco, la nitidezza ha ragion d’essere solo se ad agire sono i due protagonisti. Il legame che li unisce si plasma mediante il cinema, che qui assume una funzione totalmente salvifica: attraverso quell’universo fittizio lui è evaso da un’infanzia fatta di solitudine e la figlia ha superato dei momenti difficili legati alla tossicodipendenza. 

    Il mondo fa meno paura grazie ai film e così un mostro marino raffigurato su un libro diventa innocuo se accompagnato da un “accordo di sventura” e la “luce a cavallo” diventa un fascio luminoso portato su un destriero nero.

    La sceneggiatura vuole però evidenziare che quello schermo in grado di farci fuggire dalla concretezza del quotidiano ha sì un valore redentivo, ma non bisogna mai trascurare l’esistenza tangibile, i rapporti umani.  “Prima la vita e poi il cinema”, questa frase risuona per tutta la durata del racconto come un monito da tenere sempre presente.

    Uno degli elementi cardine nella narrazione è Pinocchio, la fiaba del bambino di legno che Luigi Comencini trasformò in uno sceneggiato televisivo diventa metafora del legame tra i due personaggi principali. Lei come il burattino perde la strada, ma riesce a sopravvivere al pescecane grazie al suo Geppetto. 

    La Comencini sceglie di esporsi e soprattutto di omaggiare la figura del padre, rimarcando la sua natura mite e la fiducia che ha riposto in lei anche nei momenti più bui.

    Il nome di Francesca non è mai citato, così come non ci sono mai riferimenti temporali, l’unica contestualizzazione dei fatti narrati ci è data dai telegiornali che raccontano gli anni di piombo, dalla strage di Piazza Fontana al rapimento di Aldo Moro.

    I due attori principali (Romana Maggiora Vergano e Fabrizio Gifuni) entrano perfettamente nel ruolo e risultano sempre credibili, anche in alcuni dialoghi talvolta carichi di una pesantezza non indispensabile.

    Il tempo che ci vuole racconta una storia reale, ma non si attiene al puro realismo e sfocia spesso in sequenze fantasiose, alternando la verità alla finzione. È quasi come se fossimo invitati a viaggiare nella memoria di una persona, fatta di ricordi che non devono necessariamente avere una collocazione ordinata e ordinaria. Nel finale la realtà è totalmente abbandonata, ma il risultato è una sequenza probabilmente superflua.

    Restano comunque molte immagini evocative e talvolta commoventi e soprattutto ci viene donata, attraverso le parole di Luigi Comencini, un’idea di cinema che è meraviglia, illusione, espiazione, scoperta. Un cinema che “ti mostra quello che trova”.

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    Maria Cagnazzo,
    Redattrice.

  • I giorni dell’abbandono – In cantiere un remake in lingua inglese con Penelope Cruz

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    Penelope Cruz interpreterà Olga, la protagonista del romanzo I giorni dell’abbandono di Elena Ferrante. È infatti in cantiere un nuovo adattamento cinematografico in lingua inglese del best-seller della scrittrice la cui identità è tutt’oggi un mistero.

    La storia della Ferrante era già stata trasposta sugli schermi italiani nel 2005 con un omonimo film di Roberto Faenza interpretato da Margherita Buy e Luca Zingaretti.

    Il remake, ambientato negli Stati Uniti, sarà diretto dalla regista spagnola Isabel Coixet e scritto dalla sceneggiatrice francese Laurence Coriat.

    La Coixet, presidente della giuria Orizzonti nella 79ª Mostra del Cinema di Venezia, è nota per La mia vita senza me (Mi vida sin mí, 2003) e La vita segreta delle parole (La vida secreta de las palabras, 2005), vincitori rispettivamente di due e quattro Premi Goya. La Coriat ha invece sceneggiato il celebre Wonderland (1999) di Micheal Winterbottom, premiato ai British Independent Film Awards.

    Il film racconterà la storia di una donna felice e appagata, che si ritroverà in un baratro di disperazione e solitudine dopo essere stata abbandonata dal marito. 

    La produzione è stata affidata alla Lotus Production (società Leone Film Group), alla Moonlyon della stessa Penelope Cruz e a Edu Cruz e Marco Perego con la Nimoa Entertainment.

    L’accordo tra l’attrice e i produttori è stato stipulato prima dell’inizio dello sciopero SAG-AFTRA.In attesa di ulteriori sviluppi potremo vedere la Cruz a breve nel lungometraggio Ferrari di Michael Mann, presentato recentemente in concorso a Venezia.

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    Marianna Cagnazzo,
    Redattrice news.