Passion of Carlo Mazzacurati
Synopsis
The tragicomic story of filmmaker John Dubois, a former promise of the cinema in disgrace, on the eve of the return on the screens with a film starring a young and popular television actress, is locked in a small town in Tuscany, and here reluctantly forced to head the popular representation of the Passion of Christ.
is symptomatic of the current state of the country if the Italian cinema has long since been eaten by the television and if the dialogue between the two is strongly unbalanced by the second. Television has won the battle for popularity and seduction Collective film and therefore has earned the right to speak first, to create characters and comic figures who thrive on the small screen and then there's also a great comment on. With Checco Zalone and Cetto La Whatever , to remain the last blatant examples, it went like this: the TV has launched the smash and films that followed have been limited to ennoble or to prolong their existence. The cinema, or at least the commercial cinema and comedy in which recovery is normal and spectator needs, not to pursue the televised speech, but only repeats, the maximum extension.
Carlo Mazzacurati , which is a real director and not a performer, as Gennaro Nunziante or Giulio Manfredonia, knows this and when he decides to run an Italian comedy dated 2010 is at the edge of the problem, a first step yield dynamics television, a step beyond the ability to think in terms of comic cinema. His passion laugh, laugh a lot, but it does so as a successful and well-written fiction: with the rapid sketch comedy, with sketches of the characters who prevail on their psychological definition, with the presence of Corrado Guzzanti which simply update her gallery of magnificent and horrible freak television. The same comic vitriol on the world of Italian cinema, which created the funniest jokes in the film, is nothing but the repetition of verve acid Boris, his self-indulgence and good nature of his disguised malice.
is not to pillory colleagues and opponents who would like to Mazzacurati , even with all the irony and fun uses. Nor is the ingenuity of the province to interest, having previously crossed, and with much greater force, that world of structured ambiguity. Rest is a painter of landscapes, human and social, but with the understanding that the impairment of vision television has permanently altered the ability to discern reality. The world on stage, superficial and Sketches, with a spot of Tuscany and a language to the vernacular, is the only one at the moment the comedy films can afford, the only game that the public agrees to play to get to laugh.
Passion then is the story of creative impotence which results in existential impotence. The inaction of John Dubois, director without inspiration and unable to lead a popular representation that seems to go on stage alone, like a film without a director, like any product comic Checco Zalone or Ale e Franz , is the sign of the defeat of the cinema than on television. There is not Mazzacurati behind the stereotypical image of the impoverished former promise, there is the very idea of \u200b\u200ba historic defeat, the superficiality of any talk conducted with the rules imposed by the television show.
Everything is flat, two-dimensional, built: not, however, as the tableau of a medieval passion, but as a screen without depth. It is no coincidence, then, that anger at one point he vents not as a reaction to bad luck, but as outrage at the shameless mockery of the common viewer, insensitive to the point of laughing a fat man falls to the ground and did not notice to attend a performance of true three-dimensional representation of the real passion of a modern, the only possible today: passion, that is, the different, the last of the single subjectivity which does not adapt collective emotion and therefore deserves ridicule and rejection.
It is no coincidence, then, that once broken the veil of anything with which he wrapped up his play (inevitably) television Mazzacurati chooses to close his film with another film, which is independent cinema at least , created by the mind finally free of Dubois and then unveiled the story, a story of escape and liberation chooses to place a character on the edge of a world to discover, beyond which lie the unknown, the unexpected, the new perhaps.
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