2024-01-07 21:50:27
by Aldo Grasso
Giorgio Verdelli’s docu-film Enzo Jannacci – I’m coming too (Netflix) is dedicated to the singer-songwriter, decio and cabaret artist who passed away ten years ago
I confess that Enzo Jannacci is one of the artists I loved most: many years ago, he allowed me to understand the soul of Milan, to experience Milan. Doctors usually aspire to write novels, he transformed his life into a novel in which the writing, comic and musical moments harmonize perfectly. Now everyone says that he was a genius, a classic when you die and become harmless, but they are the same ones who previously said that he was too unreliable, unconventional, uncontrollable. Even dangerous. While alive, when television comedy flattened itself to impossible levels, they even called him an old man, commented Paolo Rossi.
The docu-film Enzo Jannacci – I’m coming too is perhaps the most successful of those made by Giorgio Verdelli (Netflix). Released ten years after his death, dozens of personalities who crossed his path alternate in the re-enactment: from Massimo Boldi to Diego Abatantuono, from Dori Ghezzi to Cochi Ponzoni, from Paolo Conte to Claudio Bisio, from an unprecedented and moved Vasco Rossi to naturally to his son Paolo.
Many voices (and many songs) to give a sense of the fullness of the Milanese artist, his interpretation of culture, mocking its most elitist contours without ever falling into populism, ennobling even the most marginal expressions of society. Jannacci as singer of the last, of the tramps who wore tennis shoes or of the outcasts of If you told me before with whom he presented himself at the Sanremo Festival. Jannacci as a storyteller and jester, the one censored by Rai together with Dario Fo for I saw a king. Jannacci as a pioneer and talent scout of a school of comedy, the Milanese one, which found in the Derby on Viale Monterosa its symbolic place and icon of a Milan that is difficult even to imagine today.
The docu-film flows with the same rhythm that Jannacci, who never abandoned his profession as a doctor, put into his songs, in a continuous swing between laughter and emotion. Better a triumphal fiasco than a cordial success, said Jannacci, with his innate and unique ability to surprise, to construct songs with crooked trajectories, in which the grotesque became the rule.
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January 7, 2024 (modified January 7, 2024 | 8.49pm)
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