The great friend He returns to Rai 1 on Monday 11 November with the first episode fourthand season. The story of the lost little girlthis is the title of the fourth chapter of Elena Ferrante’s tetralogy, which brings to the screen the complex relationship between Elena Greco, called Lenù, and Raffaella Cerullo, called Lila, the two protagonists of the saga that interests all over the world.
In the fourth and last chapter, we see Lenù and Lila as adults: Margherita Mazzucco and Gaia Girace then the baton goes to Alba Rohrwacher and Irene Maiorino. It is the friends who now take on the role of the two friends and personify their friendship, suspended between admiration and competition.
Advertising the fourth season of The great friend The fans of the series, who have been waiting for this moment for two years (in fact the third season goes back to 2022) have high expectations and are asking, as has happened in the past seasons, that the fourth will follow head on too. faithful to Elena Ferrante’s books.
Watch the trailer for “My Brilliant Friend 4”
My Brilliant Friend 4: how the plot continues
My wonderful friend 4 for free It is the last chapter of the saga of Elena Ferrante and follows the main characters Lila and Lenù in their adult lives, from the 1980s to the early 2000s. Maturity brings decisive challenges: Lenù is now an established writer and returns to Naples to pursue the love of Nino Sarratore (Fabrizio Gifuni).
For Lenù, returning to the Neapolitan city also means returning to deal with the deep roots of her personal history and dealing with the complex dynamics of the neighborhood where she grew up.
Meanwhile, Lila is still in Naples and has managed to reinvent herself as an entrepreneur in the neighborhood where she grew up. The young woman is now a figure of reference for the public and has a significant influence.
The two great friends have taken different paths and directions so far, but their friendship is always indissoluble, and the complicity that binds them will serve again the new tensions that are on their path, complicated by love.
My Brilliant Friend: the differences between the TV series and the book
The TV series come on Free Elena Ferrante Novels, he was also appreciated throughout the world for his devotion to books. If it often happens that changes and compromises have to be made on the film or on the small screen, for The great friend it went differently.
In fact, there is very little differences between books and TV seriesand covering details of a story that otherwise remained true to the original. So what are these? differences?
One of the most famous episodes that deviates a little from the books the party is at Professor Galiani’s house. The episode leads to one of the first important arguments between Lila and Lenù, who attend the party together. In the TV series Lila shows up wearing flashy clothes, a choice that immediately worries Lenù, aware of the possible bourgeois reactions.
In the bookInstead, Lila shows up with a very simple blouse and skirt, as she promised Lenù before. In the series, probably, we wanted to favor the return of flashy clothes, also through its image, the rebellious and non-conforming
There is another link to this episode as well difference: when Lila and Lenù go to the teacher’s house, they find themselves in front of an elevator to go up to the flat floor. In the TV series the girls take the lift, and they are in the book they decide to use the stairs, in case they get stuck in that technology they don’t have yet (we’re in the early seventies).
Another one difference between the book and the TV series She relates to Lila’s gynecological visit: in the TV series, she tells Lenù that she only went to the doctor after the visit, while the opposite happens in the book and it is Lenù who pushes her friend to visit.
The difference it’s more about Lila’s character and how her thoughts are conveyed to the audience. In the book, in fact, Lenù is the narrator – who also becomes a successful writer in the story: Lila entrusts him with her notebooks, which are the key through which Elena tells us the most intimate thoughts and feelings of her a friend The expedient found in the TV series it’s about using flashbacks to make Lila’s inner dimension visible to the audience.
a few small ones difference it is also significant for the historical events, which form the background for the story of Lila and Lenù, and some minor characters. Historical events i a novel sometimes they are only mentioned during the TV series take on more importance. This is especially true of the third chapter of the saga, A story of those who flee and those who stay: in the third season of TV seriesthe events of the seventies become central, between class conflicts and student movements highlighted to broaden the social and political reading of history.
Linked to this theme, some minor characters in the books such as Pietro’s sister, Mariarosa, and Nadia, the daughter of Professor Galiani, also take on more prominent roles in the TV series precisely in relation to the student uprising.
Now for fans of the saga there is only one question left: will there be some differences between the TV series and the book also for My wonderful friend 4 for free?
My wonderful friend, the differences between Italy and the United States
The differences they are found not only among the books and the TV series of The great friendbut also among the Italian version of the TV series and the one broadcast in the United States. In Italy, in fact, Rai chose to omit some scenes that are considered too raw and strong for the Italian public. A choice that made some fans of the series turn their noses up.
In the first season Rai has cut two most impressive scenes. One concerns the sexual violence committed by Donato Sarratore on Lenù: the abuse is only mentioned without showing the most obvious and disturbing images, limiting the horror of the situation. The other deleted scene is Lila’s naked bath in the eighth episode, on the eve of her wedding with Stefano: the complete nudity was omitted, allowing us to guess without showing it completely.
In the second season a similar approach was also taken to convey Stefano’s violence against Lila during their wedding night on the small screen. In this scene, Stefano’s face, distorted through the glass, anticipates Lila’s fear
A difference of Rai’s choices due to public sensitivity, in the United States HBO decided to broadcast the episodes in their entirety, without cuts. This was possible, presumably, because HBO has a reputation for being particularly open to graphic scenes of violence. The clearest scenes of it TV series come Game of thrones o The Last of Usto name just a few other American broadcasters would be charged the same.
Time.News Interview: Exploring the Legacy of “My Brilliant Friend” with Expert Laura Conti
Time.News Editor: Hello and welcome to Time.News! Today, I am thrilled to be speaking with Dr. Laura Conti, a literary scholar specializing in contemporary Italian literature and the works of Elena Ferrante. With the premiere of the fourth season of “My Brilliant Friend” just around the corner, we have a lot to discuss. Welcome, Laura!
Dr. Laura Conti: Thank you! It’s great to be here and to delve into such a captivating series.
Editor: Let’s jump right in! The fourth season of “My Brilliant Friend” is based on the book “The Story of the Lost Girl,” which is the final chapter in Ferrante’s tetralogy. Can you tell us a bit about the evolution of the characters, Lenù and Lila, as they transition into adulthood?
Conti: Absolutely! Throughout the series, Ferrante beautifully captures the complexities of friendship, particularly as life circumstances change. In the adult lives of Lenù and Lila, we see them take significantly different paths—Lenù becomes an established author while Lila reinvents herself as an entrepreneur in their native Naples. This divergence highlights how their backgrounds and choices lead them to form unique identities, yet their bond remains an undercurrent, bringing both support and tension.
Editor: Speaking of tension, it’s interesting to note that the fans have high expectations for this new season to remain true to Ferrante’s narrative. What has been your observation about the adaptation from book to screen in the series so far?
Conti: The adaptation of “My Brilliant Friend” has been quite faithful to Ferrante’s original text, which is commendable. Unlike many adaptations, this series has managed to maintain the spirit and depth of the source material. While there are minor differences—like the portrayal of the school event at Professor Galiani’s house, where Lila’s outfit serves as a symbol of her rebellion—these choices usually serve a narrative purpose. They provide a visual richness that adds to the storytelling, even when diverging from the text.
Editor: That’s a fascinating point! One change you mentioned is how the show uses flashbacks to convey Lila’s inner thoughts. How does this method differ from Ferrante’s literary approach?
Conti: In the novels, the perspective is deeply rooted in Lenù’s narration, her reflections often bringing readers into Lila’s psyche through shared memories and notebooks. The series, however, employs flashbacks and other cinematic techniques to give viewers direct access to Lila’s internal struggles and experiences. This contrast allows for a more immediate, visual storytelling approach, but it can alter the viewer’s perception of Lila’s character as we see her actions and feelings in real-time, rather than through Lenù’s filtered lens.
Editor: It seems this season will not only explore their personal growth but also address historical events that shape their lives. How do you think this grounding in social and political realities enhances the narrative?
Conti: Ferrante’s work is rooted in the socio-political context of Naples, and the series beautifully reflects that. By incorporating significant historical moments, particularly the class struggles and student movements of the 70s and 80s, the narrative gains a broader texture. It becomes not just a personal story about two friends but also a commentary on the societal changes in Italy during that time. This context enriches both the characters’ development and the viewers’ understanding of their challenges.
Editor: With the anticipation building for this new season, what do you think sets “My Brilliant Friend” apart in the landscape of television adaptations?
Conti: “My Brilliant Friend” stands out because it doesn’t shy away from the complexities of female friendships and the real struggles that accompany them. It captures the essence of how relationships evolve in the face of personal ambition and societal pressures. The meticulous attention to detail, combined with strong performances and elevated storytelling, distinguishes it from other adaptations that may sacrifice depth for entertainment value.
Editor: Those are insightful thoughts! Before we wrap up, if you could highlight one theme or element of the upcoming season that fans should watch for, what would it be?
Conti: I’d encourage fans to pay attention to the theme of reinvention—not just in Lila’s entrepreneurial journey, but also in how Lenù re-engages with her roots in Naples. This season promises to challenge their friendship anew as both women navigate love, ambition, and the complexities of their intertwined lives. It’s a profound exploration of how we often circle back to our origins, even as we strive for personal growth.
Editor: Thank you so much, Laura, for sharing your expertise with us today! It’s clear that “My Brilliant Friend” continues to provoke thought and discussion not only about friendship but also about the wider societal implications of the characters’ journeys.
Conti: Thank you for having me! I’m excited for fans to experience the new season.
Editor: And to all our viewers, we hope you’re looking forward to the premiere of “My Brilliant Friend” on November 11th. Don’t miss it!