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kite. "I felt very angry, let's see who's checking this time, I thought, I turned on the computer and started writing every detail of our story." So began literary saga of Lenù and Lila, with a woman in front of a computer who writes a story becoming the storyteller. So began the television series Lenù and Lila, with a woman in front of a computer that writes a story that becomes Voce Narrante. It's the same old question, that of transposing a (famous) book to film and television. Betray the letter to follow the spirit? Betray the spirit to follow the letter? Betray both, follow both? "The awesome friend"Is a book of thoughts and words and networks of relationships.Being too loyal to him, it is smothering the writing of the other media, television, and create a succession of scenes" taken from ".
[ALLERTA SPOILER: se non hai visto la serie, continuare a leggere potrebbe rovinarti la sorpresa]
When Elena Ferrante highlights the darkest aspects of the neighborhood, this first floor is deflated in the TV version.
However, during the first two episodes of "The Genial Friend" (already seen in Venice, at the cinema and on HBO), something from the book is better, and with a more intense sense. "Don Achille (…) was thrown to Peluso, raised him, threw him against a tree in the gardens and abandoned him there, stunned". This is the violence of the parish, which is why Lenù has no nostalgia for his childhood. Words killed (crup, tetanus, typhus …), men and women idem. Blood. With this word opens the chapter that ends with the aforementioned aggression in Peluso. The vague language of Ferrante says it all, the audiovisual language of the director Saverio Costanzo and the writers does something else. We are at a funeral, all the characters gathered, Peluso is led by Don Achille. The priest does not intervene, nobody does it. Shout out of the church. Everyone is going progressively, even Lenù. He does it just in time to see a body that, like something, is thrown furiously against a wall and twists itself with cracking. Describing the scene already weakens it. It is precisely because there is an image and a sound that the series succeeds where it shows the violence described by Ferrante.. When the author highlights the darkest aspects of the neighborhood, this first floor explodes on a small screen.
It is the day of the transfer of the family Sarratore. Lydia, the wife seems to have conquered the widow Melina, who claimed that her husband was too kind or too naive or too much. "Melina began screaming, it was screams of such agony that I saw Lila put her hands on her ears." Melina casts out of the window in despair all that She has: "things hit the asphalt, they bounced, they broke bursts of shrapnel". Finally an iron flies: "The object fell into a swoop and made a hole in the ground with a dull thud, a few inches from Nino.For a time – very little – he did not kill him". Ferrante does not exaggerate and we discover it in the series: the cries of Melina are unbearable hisses, the objects fall with all their noise, these few centimeters that separate Nino from the iron that we see them, and how. The story is placid, moves in small steps and so, when the violence arrives, it explodes even stronger in the series. Because violence is an action and that action is often the basis of history in pictures.
"Invisible" animals are insects, they crawl hard. They do not end up in the water or in the food, but in the mouth of Lenù's mother
The action when it is shown, and depending on how it is shown, can demonstrate more than just words. The scene is famous, Lila is beaten by her father: "My friend flew out of the window, went over my head and landed on the asphalt behind me … I was surprised .. Ferdinando (.. .) had launched it as a thing ". The flight of the series does not follow the same trajectory, which seems almost fabulous even if tragic. On television, Lila suddenly comes out of the window and is thrown to the floor cleanly and dry, making the same noise as the iron. It's one thing, exactly, like Peluso. There is another scene of violence, that of Lenu. In the book, Ferrante is reluctant. Because of her escape from Lila, she is reluctantly punished by her father for wanting her mother: "He gave them to me rightly." In the series, the scene is much longer: the father comes slamming the door into the room, screams Elena, the father slaps her then, with all the false reluctance of such a shot, we only see the l & # 39; A man with a deformed face who raises his arm. The sound of the slap alternates with the cries of the girl. We do not see but hear, and for a long time. Regarding the violence suffered, in the series, the two friends are placed at the same level. "When I was a child, I imagined very small, almost invisible animals, who came to the neighborhood at night (…) and went into the water, food, and water. air, making our mothers, our grandmothers, angry, like thirsty bitches … (…) The men became incessantly furious but finally calmed down, while the women, apparently quieter and more accommodating, are set in the depths of their anger without ceasing to be annoyed.It is the best definition of generalized violence in the room.The narrative voice repeats it, almost identical, in the series.But here we see these animals, they are not invisible, they are insects, they crawl loudly.They do not end up in the water, in the food, in the air but in the mouth of the mother of Lenù: this n & rsquo; Is not a coincidence.The picture is scary, surreal.
Vary and intensify thanks to the possibilities of the image and the sound. If you do it right, the book does not suffocate but stays alive. Has it been done anymore? What will change with the progress of history? The paradox of the first two episodes is that they close however with a strong visual deviation. When Peluso is taken away by the carabineros, Costanzo decides to pursue him after his wife in the manner of Anna Magnani in "Roma città aperta". In the book, Ferrante says that "it was the most terrible thing we took over as a child." Mediated by the didactic quote, which is an escalation against Peluso is no longer terrible but already seen.
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