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Valeria Golino è una fuoriclasse, sia come attrice, che (da qualche anno) anche come regista. Ha uno sguardo magnetico, penetrante, e il suo (fare) cinema possiede una connotazione trasversale, fresca, moderna, che sa parlare a tutti, grazie a personaggi atipici e anticonvenzionali, scanditi da cura e ricerca. Mette in piedi così un proprio micro-mondo, a cui ci invita a partecipare da spettatori, e dove niente è scontato.
Dal cinema alla serie tv
Da Miele a Euforia, opera prima e seconda dietro la macchina da presa, apprezzatissime e premiate, adesso il passo si fa lungo e di quelli ulteriormente ambiziosi: un debutto seriale Sky Original, avvincente e complesso, narrando ora L’arte della gioia, il romanzo-cult di Goliarda Sapienza, e presentato in anteprima mondiale al 77esimo Festival di Cannes, che vedremo in sala (la prima parte) dal 30 maggio, e (gli altri tre episodi) dal 13 giugno, distribuita da Vision Distribution, per poi arrivare su Sky appunto.
Un progetto miracoloso, visto che nessuno finora era riuscito a comprare i diritti del libro, mettendo in scena concretamente, però, qualcosa di tale importanza. C’è riuscita in primis Viola Prestrieri, produttrice illuminata, nonché co-fondatrice insieme alla stessa Golino e Riccardo Scamarcio della casa di produzione Buona Onda, che ha subito coinvolta nella sfida proprio Valeria Golino. Doveva essere un film, man mano si è evoluta invece l’idea, poi finale, di una serie in sei episodi, l’inizio di un percorso, forse, dato che il testo originario è composto da quattro parti. Nel centenario della nascita della scrittrice, era nata il 10 maggio 1924, L’arte della gioia incombe allora nella visione di un'autrice altrettanto proiettata in avanti, brava a raccontare l’universo femminile (ma anche maschile).
Una bimba forte tra macerie umane
L’ambientazione, in questo caso, è il 1900. L’anno in cui irrompe Modesta, una giovane donna, nata da una famiglia povera, in un paese, la Sicilia, che lo è ancora di più. Attorno ci sono solo macerie, anche umane: un padre violento, un evento tragico, come quello della morte della madre e sorella disabile, ma anche l’unico amico, Tuzzu, col quale si confida, parla di primi turbamenti, eccitazioni.
Dal dramma al convento
Ma Modesta, ancora bambina, è votata, destino vuole, al dover (sulla sua pelle) assaggiare subito il cambiamento, la trasformazione, a crescere in fretta. Finisce in un convento, il luogo nel quale prova anche a sperimentare i sentimenti e pulsioni affettive: diventa infatti la protetta della Madre Superiora, Suor Eleonora (interpretata qui da Jasmine Trinca), ma è da lì, fuori, che volerà verso altre mete esistenziali. Entra nella villa della Principessa Brandiforti (Valeria Bruni Tedeschi) per quello che è un percorso intimo, culturale, legge Baudelaire, azzarda senza paura, non ha senso di colpa, ma è oltremodo uno specchio in cui poter(si) riflettere, accettare chi è. Lo è nel porsi contro una società oppressiva e patriarcale, nel suo costante desiderio di superare i propri limiti, nel non abbassarsi alle convenzioni o ai tabù, nel non piegarsi mai alle regole, nell’essere se stessa e basta.
Una femminilità rivoluzionaria
Modesta è una femminilità rivoluzionaria, Modesta ha il volto di Tecla Insolia, che qui è una vera rivelazione. tra lecito e illecito, tra armonia e disorientamento, il cast e la sceneggiatura fanno la differenza e spiazzano. “Tutto quello che è subliminale, e di cui te ne puoi accorgere o no, è quello che mi piace fare”, ha detto la Golino. "La prima volta che ho letto il libro è stato qualcosa di emotivo, mi ha turbato. Reagivo a tutta una serie di fatti e informazioni incredibili, fantasmagorici, persi lì, l’eros, anche a tratti morboso, la sua scabrosità. Mi è piaciuto, ma non lo sentivo simile a me, ne ero quasi aliena, poi invece l’ho riletto qualche anno dopo. E quando Viola Pestrieri ha preso i diritti del libro e si è rivolta a me, a noi, è stato importante. Tutti i personaggi femminili sono molto interessanti, complicati, fuori dagli archetipi, di un libro che gioca con gli stessi archetipi in continuazione, li rompe. Modesta è un unicum nella letteratura italiana, è oltre la modernità, lei è più avanti di noi, e così mi piaceva una donna così poco edificante, poter raccontare questo femminile con tutti i grandi difetti che di solito si danno agli uomini, che sono sempre antieroi, nei ricordi, e lei ce li hai. Solo che è donna e di solito non se ne parla”.
L’aspetto personale, dietro al progetto
“Ho conosciuta Goliarda a 18 anni, sul set del film di Francesco Maselli, Storia d’Amore. Lei era stata la mia coach, di linguaggi, di dizione, ci fu un rapporto con lei molto affettuoso, e io me lo prendevo. Ero piccola, distratta allora, per capire chi era veramente, non avevo letto ancora i suoi libri, mi aiutò molto. Dopo l’uscita del film, la vidi una volta per caso, mi sarei dovuta interessare di più, conoscerla di più, se solo avessi saputo, col senno di poi, il suo essere una mente così originale, alla ricerca della bellezza. Ecco, mi sono persa un’occasione. Penso che la scelta però di questa serie, e di darla a noi, è legato anche ad un aspetto sentimentale”.
LEGGI ANCHE QUI
