2023-11-01 16:42:36
by Stefania Ulivi
«There’s Still Tomorrow», the directorial debut of the Roman actress, is a box office success. «I prepared it obsessively, I put 30 years of career into it»
Over one million and 880 thousand euros in the first 5 days of release, the second best opening of 2023 for an Italian film, the best ever for that of a director, and a debut one at that. There’s Still Tomorrow by Paola Cortellesi, released in 500 theaters (increased to 572) on 26 October, three awards at the Rome Film Festival is already a case at the box office, with an incessant tom tam, spontaneous applause at the end of the screening, enthusiasm that it also overflows via the web. «I’m in a wonderful blender. An overwhelming, collective affection that embraces many people of different ages and backgrounds who love this story.”
That of Delia, a commoner from Testaccio, two children, an obtuse and violent husband, a dependent father-in-law and many odd jobs to put together lunch and dinner. At a key moment in our country, June 1946. Did you expect this welcome?
«I was hoping for it but I couldn’t imagine the dimensions. Families go there, mothers with their daughters, kids. The other day a slightly shy thirteen year old got up and said: “I didn’t know whether to come because I don’t think I would like it, but I liked it a lot”.
Born in 1973, radio, TV, satire, first film as an actress in 2000, as a screenwriter in 2014. Why also a director?
«I couldn’t give up. With Riccardo (Milani, her husband, ed.) apart from the usual little things like at the Vianello house when we argue while writing, on the set I let myself be directed, I’m calm. But I wanted to do it my way. For example, I don’t give up on captions.”
In what sense?
«I use a lot to explain the characters: the state of mind in which a joke is said, and the listening plan of the viewer. Everything described in a maniacal way. Then each director interprets them in his own way. I wanted to do it myself.”
It is no coincidence that Valerio Mastandrea and Emanuela Fanelli – in the cast with Giorgio Colangeli, Vinicio Marchioni, Romana Maggiora Vergano -, who love her very much, speak of her as a pain in the ass director, even if they use a more colorful Roman phrase.
«Let’s say meticulous. The nice thing is that I was able to choose the people who correspond to me, not only the actors but in all departments. The advantage of making my debut at my age is that as an actress I know all the professionals in the sector. On our set there was kindness, a unique atmosphere.”
He got three weeks of practice, that doesn’t happen often.
«It was important. Theatrical rehearsals that allow you, if a giant like Colangeli proposes something, to accept it. I wanted to know the proposals of Valerio, Fanelli, Vinicio, to have the opportunity to work on them. Just as the production gave me the time to work on the editing with Valentina Mariani, months alone.”
From the A of Arbore and Aldo Giovani and Giacomo to the V of Enrico Vaime, there doesn’t seem to be a name in the world of Italian entertainment that he hasn’t had to deal with. What did she bring with her?
“All. Each experience contributed to a growth of which I was not aware but allowed me to fish in registers that apparently do not belong together. Comedy that comes from the work done twenty years ago with the Gialappi, the music from the TV variety show, exquisitely cinematographic or theatrical things. There is everything in my life.”
Including Sanremo 2004. What memories do you have?
«Beautiful. It was a minor Sanremo, the record companies had given up, I no longer know why. They ultimately entrusted the management to Simona Ventura. With her, Gene Gnocchi and Crozza we could do whatever we wanted on stage. Very free. Crazy things unthinkable in a more canonical edition.”
Best performance in a film by a director, Delia is a bit like our Barbie.
«Hurray. And I like that the article is enough to define the author’s genre. Why a female director if you don’t call yourself a male director?”
A story of the 40s, in black and white. But contemporary, she explained. In what sense?
«I go into the past to talk about a female condition that is no longer like this but preserves cultural legacies, dangerously alive and vivid. I’m happy to be told that it captures the spirit of the times. The strength of women. Of yesterday and today. That was my intent.”
There is a violent and obtuse husband. But he doesn’t show the blows, he resolved them with almost musical-like scenes. Why?
«It seemed more effective to use a song, Nobody, to underline them. The strength of the film is having mixed the genres seen and seen: theatre, cinema, Broadway musicals. You watch and learn. I put everything in the bin. Almost 30 years of trash.”
By the way, Mina said about her: one of the most beautiful Italian voices.
«But do we realize? I wrote a handwritten letter entrusted to Bibi Ballandi, to Mrs. Mina like the one to Savonarola by Troisi and Benigni. I didn’t know how to begin: Dear Mina, no, Dear Mrs. Mazzini…”.
She said she was inspired by her grandparents’ stories of farmyard life and dedicated it to her daughter. Reactions?
«She was taken aback, surprised. Part of my family saw it and enjoyed it, they recognized her childhood stories. And certain names, like Alvaro (in the film Lele Vannoli).”
Colleagues compete in praise. What effect does it have?
«I feel the support for me, it makes me very happy. I met wonderful people. Since Vaime: he was a mentor who never said mentor things. Like a mother bear who takes her cubs with her and lets them go.”
November 1, 2023 (modified November 1, 2023 | 3:42 pm)
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