2023-07-24 21:09:11
by Aldo Grasso
The director Francesco Miccich is too shrewd to indulge in a hagiographic portrait, even if the attention to the sailing enterprise deviates a bit from the complex financial vicissitudes
The narrative device of the interview makes it easy enough to pass from fiction to archive material, from scripted interviews to real ones. Entrepreneur Raul Gardini from Ravenna (Fabrizio Bentivoglio), at the height of his success, decides to grant an interview to a young journalist (Pilar Fogliari) to avoid the well-worn device of the flashback and give the story a more personal tone.
Thirty years after his death, the docu-fiction Raul Gardini (Rai1) has attempted to reconstruct the figure of a protagonist of economic life and to retrace an important chapter in the history of our country. On 23 July thirty years in Milan, in an apartment in Palazzo Belgioioso, the lifeless body of Gardini was found. It was a shock that had media echoes all over the world. Starting from the inheritance of his father-in-law Serafino Ferruzzi, Gardini had created in ten years an agro-industrial and chemical group, Ferruzzi-Montedison, of global dimensions, with over 90,000 employees and, at the same time, had climbed, as shipowner and sailor, the peaks of the Cup America.
The docufiction starts right from the sporting feat of the Moor of Venice, from the sumptuous inauguration in the Venetian lagoon to the first races. The Moor of Venice – Gardini confesses to the journalist – a symbol of adventure, the metaphor of my life.
The director Francesco Miccich, with the editorial coordination of Giovanni Filippetto, too shrewd to abandon himself to the holy card, to the hagiographic portrait, even if the insistent attention to the sailing company diverts attention a bit from the complex financial vicissitudes (the failure to merge Eni /Montedison, the unfulfilled promises on the tax exemption of capital gains made by Montedison…), from the conflicts between Gardini and the Ferruzzi family, from the party financing system that led to the tragic conclusion.
a product on the ford, which lacks both the courage of fiction (was he really a misunderstood visionary?) and the rigor of the investigation (the role of the parties in stripping state industries). For at least we have an idea of the climate of Clean Hands.
July 24, 2023 (change July 24, 2023 | 21:08)
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