THE CAYMAN Italy 2006
of Nanni Moretti .
With Silvio Orlando, Margherita Buy, Jasmine Trinca, Nanni Moretti, Giuliano Montaldo, Michele Placido, Cecilia Dazzi.
a caiman in ascolto
Chi è il Caimano? Facile: Berlusconi. E chi è Berlusconi? Uno che rifiuta la realtà costruendone una nuova di zecca da rifilare al prossimo, uno che a domande precise risponde insultando l'interlocutore e cambiando argomento, uno che detesta chi non lo adora a sufficienza. Esattamente come Bruno, che vede nello script (appena sfogliato) di Teresa soprattutto un pretesto per rimandare il proprio fallimento professionale e chiude gli occhi sul disastro del proprio matrimonio, consumando una vendetta plateale quanto infantile. Il Caimano siamo tutti noi, o meglio, c’è un po’ di Caimano in ognuno di noi: anche per questo il personaggio è interpretato Three actors, one of which is the same director (who also, in the car with Teresa, does not listen to what she says, preferring to sing and straparlare à la Moretti). He's right the Polish producer (Jerzy Stuhr, practically in the part of himself): The problem is that loves Italy at the dreams of gold and hates rude awakening (the demolition of the set), not (only) to the hero unified networks able to take advantage of the situation. The finish is even more explicit on this subject: the Cayman speaks and disappears, others are to act for him (a V for Vendetta on the contrary, therefore). Moretti plays with the world of film (a wonderful cast for a host of small parties) and the plugs composition of [the making of the film is punctuated by sequences of Teresa (deliberately ramshackle, too) works made by sculptor Bruno and fragments of the script, where some of the most important moments visually (the mysterious case, the floor covered with letters)], but the mechanism tends to jam: portraits private sound artifacts (the usual children invariably adorable and of course more mature parents, gay couples turbulent close-knit but opposed by the breakdown of traditional family), the universe of movie people is populated by figures that are often forgotten (one for all: the star Porcelain), the parenthesis documentary (Berlusconi to Parliament European) is superfluous caption.
A film unresolved, but not outstanding in the name (or fear) of injury.
Stefano Selleri
www.spietati.it
Ecce Moretti
Important Notice: "Il Caimano" is a film about Berlusconi but it is a film by Nanni Moretti. It may seem obvious, but it is noticeable how the strong personality of the author has not left much influence in constructing a film in which the contemporary is but does not overpower the main motivations of the characters. Sure, you can discuss the tricksy to release the film two weeks before the vote. The agonizing wait, the very effective promotional campaign focusing on silence and mystery, manipulation of the media, the political manipulation, they will do very well to the collections, but they may disappoint those who cross the threshold of cinema with the need to see a film that finally say "something left." Not because the film lacks a strong point of view, but because in the end shakes less than expected. Beyond the media event, "The Caiman" is also an interesting work. Moretti's is, as always, very personal, political As before, it plunges the characters into the present, with a greyness that is reflected by the glimmering of deceptive tele-dancers to the difficulties of everyday life. But without the weight of an ideology by theorizing, letting the characters go their own way. The feeling, hot, is that the irons in the fire is so much, maybe too much, and that not everything comes so calibrated. There is the attempt, partly successful, to merge a private dimension with the questions of the community. Difficult to do so without incurring the banality of the already seen and heard. Fortunately, Nanni Moretti avoids the pitfalls of the rally and is not intended to documentary. The opportunity to attack the political scene current is given by choice, not original but effective, a meta-adhesive film. One of the characters is in fact a young director looking for a producer for a film that tells the epic story of Berlusconi and the decline which has led the country. The risk of a sterile talk to him, play with the quotations and famous cameos, it's great, but the self, while notandosi, not noisy. The main flaw of the pieces of trash film directed by the protagonist (an excellent Silvio Orlando) is that they are longish and not so hilarious, but the frame allows you to say across the board important things ("Where does all this money?"), Avoiding petulance of those who are already ideologically schierato. In questo senso la critica al potere di Moretti è lucida e ben condotta, anche se marginale al racconto, imbevuto di personaggi che comunque ne escono indenni, parlano ogni tanto del presente ma non si sporcano direttamente le mani. Il film finisce infatti per sbilanciarsi verso le strade rodate di un capolinea affettivo, di cui volutamente si tacciono le cause e messo in scena solo nelle conseguenze. Anche in questo caso la scelta stilistica è ammirevole, ma il rischio di una leggerezza e di un dolore costruiti a tavolino è sempre nell'aria. Così come appare un po' superficiale la descrizione dei meccanismi produttivi dell'ambiente cinematografico e troppo calcata la piacioneria dei bambini. Ma con Nanni Moretti è così: prendere o lasciare. E nell'asfittico panorama contemporaneo trovare un artista capace di esporsi a suo modo, con antipatia, coerenza e decisione, è cosa comunque preziosa. Del resto, come dice lo stesso Moretti, anche attore, "chi sa sa e chi non sa non vuole sapere", quindi inutile pensare che un film debba mostrare ciò che è già, da tempo, sotto gli occhi di tutti. Anche se...
Luca Baroncini
www.spietati.it
rassegna Ecce Nanni
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