[ad_1]
So, so much noise, for nothing. Let's go quickly, because already two hours of precious time have been stolen from the vision of The brilliant friend. In the meantime, what boredom, what a beard, what boxes, what story (transposed) devoid of any hook to drag us in and out of oneself. As long as you're not a fan of the book, but fans of a book face a kinetic transposition NEVER the text.
It looks like a cage pushing this famous set of Arabian Nights at the production level. A standard quadratone of public housing identical to each corner of an isolated area, designed as the billboard of the monopoly (there is Vicolo Stretto with the ogre, there is Viale Vesuvio with the ladies screaming from the terraces, there under the Unforesees …), and enlightened by this typical twilight from the old Rai1 scenario (Do you ever want a Sky subscriber to exceed 1 and misunderstand). The brilliant friendly version Saverio Costanzo, with a scenario of the very large Elena Ferrante (you survived this time whoever you are, you are a genius), Laura Paolucci and Francesco Piccolo (in the prequel of the inflausissimo mea culpa The animal I carry inside has seen the feminism of the text), they literally cut the Ferrante book itself into pieceson the contrary, it is as if they had finally found a kind of essential thread, very misleading, composed of dialogue eminently, and that, as a result, they shook all kinds of dust, dirt and quick shaking details who, it must be said, his simplifying and flourishing franchise the novel had managed to bring out.
In short, the TV series is as if slowed down and dilated literary history, as if the ballast gave rise to anonymity and an atmosphere of déjà vu sad and boring, so that at one corner, one of the protagonists of paradise ladies can arise without anyone noticing. The brilliant friend looks like a chromatic crucible of atmospheres of neorealism redone 30/40 years later and this brownish haze produced by a soap opera (do you ever want a spectator of The Secret to zap the 1st and fall in love)? Not to mention the explicit moments of the film about the mafia, a stolen and stereotyped summa that serves HBO of I soprano to sell the product in the United States, or the sensational moments in which people literally fly through the air (the defenestration of one of the two protagonists is pure horror or drama), as if we were before the adventures of the Marvel superheroes. "Don Alfonso (…) was thrown to Peluso, raised him, threw him against a tree in the gardens and abandoned him there, stunned, with the blood from a hundred wounds on the head and everywhere, without the poor man could even just say: help me ".
We report only this literary example and observe what it became in the series: prologue in the church beautiful and irrelevant (in the book everything happens at the exit of the church) during a beautiful pbadage of the Mbad, then a malicious hand catches Peluso sitting at the bottom and pulls out. The screams of everyone inside and outside the church, but everyone is indifferent and even the priest shrugs his shoulders (lto the ancient eternal need of a progressive script with the usual corrupt curse huh?). Then we are outside and the trailing victim continues to the bottom of the field where we see flying two meters above the ground the man who knocks like an empty bag against a wall (naked and clean that the production had forgotten intonso). Obviously, and unlike the novel the man moans all the way before the violent final act. In short, the writers inside the brilliant friend have inserted their beak, but also their legs, their tail and all their neck, leaving crumbs of authenticity scattered here and there between scenario and realization.
And we come to another couple of essential considerations for the unsuccessful series experiment. Meanwhile, the feminist Ferrantian merges the first person of the book, describing the barricade and the intellectual amazement before the brilliant friend, it's like that dissolves (Alba Rohrwacher's off-screen voice is simply disastrous) in an acquired, more legible and less obsessive, a score of attention and a perfectly divided sense (Lila and Elena-Lenù). This is not a small thing, indeed. Second question: these two young actresses, Elisa Del Genio and Ludovica Nasti, are rented to the four winds, but to be very sincere, they live a philodramatic catatony that was not even Joan of Arc de Dreyer. Those wide eyes by Elena, really? What can they serve? Is not enough that the director "bombs" his eyes on this set cramped and dark? What is this fifth-grade didacticism in expressive research mainly among underage girls without experience? Let's go this one too.
But just get up and scream at the "crazy shit" when you commit the sacrilege of repeating, slavishly, the scene of Anna Magnani running behind the Nazi van with her husband in Rome, an open city. Identical, spit, precise (here the police do nothing). But here too: what does it mean? It was written in the book (I do not believe it)? So like that: already the boat is doing everything to make it flow and Even in tragedy, are you also trying to make it ridiculous? Fate vobis. The night they plan the second part of the great friend, I do not have: I have judo.
Source link
