The series of the Roman actor in which he is told enjoyable, always in the name of measure
The ten episodes of “Vita da Carlo”, produced by De Laurentiis on Amazon Prime, are a nice summary of the existential and actor balance sheets of Carlo Verdone, one of the few who, through his natural gifts of friendliness and professionalism, could afford a small monument to himself without rhetoric. Verdone, caressing the hypothesis of becoming mayor of Rome with all the annexes and connections of servility, opportunism, cheap politics, not only finds the main idea of this diary of daily life, but adds his real dilemma, to do a leap forward in his artistic production and finally directing that film free from easy stereotypes to which he has been aiming for a long time and of which we have seen the signs. So the television work of which he signs the rega naturally, absolutely and globally personal, even if it calls into question as guests to lighten the weight of ten episodes, friends and colleagues, “cameos” well exploited by Alessandro Haber, Roberto D’Agostino and others, while Max Tortora figures as the friend of the heart (with heart problems) and inevitably confused with Christian De Sica.
Between ups and downs, between repeated situations and predictable and others instead fun, on foot and by car along the beloved city, the series unfolds in a Roman overview where the issues we know find space, mixing the times of the sit com, especially when it comes to the familiar side with Monica Guerritore ex-wife, to those sometimes even surreal of the socio-political denunciation on which Verdone would not want to discount and every now and then raises his voice rightly. There are all his qualities, his electrical life and his obsessions, starting from the well-known medical competence that leads him to fall in love with a pharmacist. And then there are the troubles at home (her home, beautiful) with the children and friends of the children, as well as the nanny who is a good Maria Paiato, while the cinema issue is entrusted to a very ancin rgime cinephile screenwriter who wants to make a film at Murnau he clashes with the incumbent producer under which it is not difficult to recognize De Laurentiis himself.
Among the obsessions of public life and those of private life, with some repetition, the mini series feeds on Verdone’s measured skill and his many truths, large and small, capable of taking selfies and giving confidence even to annoying admirers, but always generous. This truth of the character is the dowry of the series written with Nicola Guaglianone, Menotti, Plastino, Zecca and Mastrogiovanni where in every episode there is a dramaturgical center of gravity that is sometimes valid and sometimes pleonastic. Perhaps you would like Carlo to really talk more about his work as an actor and director and his ambitions to get out of the popular national canon of the “strange famolo”, but the fact that he questioned himself almost without veils is already a turning point in the star system of comedy of which Carlo is now the last true representative. Behind there is the crisis of Rome, on which there is no lack of a just invective, the crisis of cinema and also a personal crisis, all mixed with the measure of an actor who never wants to bother anyone, nor exaggerate but awaits his great opportunity to demonstrate what he has not yet been allowed to express. But now we are close, this series will be an important suture.
December 8, 2021 (change December 8, 2021 | 07:54 am)
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