Giorgetti unchained, Borghi’s French toast and other metaphors without glory

Giorgetti unchained, Borghi’s French toast and other metaphors without glory
Giorgetti unchained, Borghi’s French toast and other metaphors without glory

Tuesday will enter the history books. On November 2, 2021, when decent people changed their priority list, putting at the top no longer “banning social media for politicians” but “banning metaphors for politicians”.

If metaphors that have to do with popular culture, then, the prohibition is not the basic one but is aggravated like certain old notices on trains: it is strictly forbidden.

The culprit of metaphor is a certain Giancarlo Giorgetti, whom I obviously had never heard of, since I deal with ministries like this one. Giorgetti deals with cinema.

The reckless Giorgetti, interviewed by Bruno Vespa, comes out saying that “westerns are going out of fashion.” In my opinion they ended up with Dances with wolves ». In fact, in the thirty years between the Oscars at Dances with Wolves and now they are not westerns by Tarantino, nor by Eastwood, nor has that western in which DiCaprio slept inside the carcass of a horse had any response (if I think about it I feel bad ).

But why does Giorgetti talk about cinema? Why did it stay in the nineties? Incidentally, the decade of that Guccinian manifesto entitled I had to make cinema: «Yes, I must say that the gentleman is quite right: there is a terrible crisis affecting the entire sector. It is that the public wants us to speak more simply, so clear and precise and banal as to say nothing. To understand the story you don’t need a bigger speech: Miss culture, take off your clothes and give your underwear here. You know how it is: she has to make cinema. Not perverted stuff, but a subject that serves life ». In my opinion Giorgetti the top of his lungs every night.

So this Giorgetti wants to talk about Salvini, and he wants to do it under a metaphor, which would already be serious. But, Guccinian convinced that “he knows so much, we all make cinema”, he passes from the metaphor of genre (western genre), to that of casting, a purist casting, a casting that does not include contamination, a casting designed by someone who does not say he has never been to the cinema, but he has never even pressed his finger to watch a movie on Netflix.

«Matteo is used to being a blockbuster in westerns. I proposed to him to be a supporting actor in an Oscar nominated drama. It’s hard to put Bud Spencer in the same movie with Meryl Streep. ‘ But, blessed son, minister, honorable, what the hell should I call you: Meryl Streep did The Devil Wears Prada. It is probably the role for which she is most famous with the public of this century. Are you really using her as an example of serious cinema, of a boring arthouse actress (talking about it live)? I would tell her that Meryl Streep who plays the badass in a fist movie would be “groundbreaking», But I’m afraid you are too heterosexual to recognize a quote from the Devil wearing Prada. If we really cannot forbid metaphors, you politicians of the current Ferilli in the commercial for telephony (“How much we like chatter”), at least we should make mandatory quotation courses.

Unfortunately, this educational disaster of which Giorgetti is the product, this delusion according to which to prevent a casting that unites Bud Spencer and Meryl Streep is not the fact that one of the two is dead but the fact that one is a scoundrel and the other a serious actress – as if Abatantuono and Pupi Avati never existed, or John Travolta and Tarantino, in the long years in which Giorgetti went to bed early in the evening – unfortunately all this is only the beginning. Because the political pages of the Italian newspapers must be filled, and therefore the counter-delirium of Borghi responds to Giorgetti’s delirium (the politician, not the actor: otherwise the level of competence rose too much, instead we must strictly speak of unknown fields).

To Concept Vecchio (one of the few good interviewers in this poor country), who goes to siphon him on Giorgetti’s casting, Claudio Borghi does not reply that he does not deal with this bullshit (the probability that a politician will miss the possibility of appearing in a newspaper it is even lower than that which misses the possibility of tweeting; but one day it will come, I do not say the man I love, but at least the politician without social media, and that day I swear to vote him for all the positions : even Billie Holiday would have been satisfied, had she had to live in this century).

Claudio Borghi replies, if you are fifty, sit down, Claudio Borghi, who is fifty-one and therefore has discovered french toast from Kramer against Kramer, like all of us, and wanted the clouds painted on the ceiling like all of us after watching Kramer against Kramer, Claudio Borghi, whose children will be very rude, like those of all of us, because the father has shaped his own identity as a parent on those mollaccioni of Kramer against Kramer who fed on a sense of guilt towards the hateful boy, Claudio Borghi, I know that you have been waiting for ten lines for the main proposition to arrive and you hate me and you have no breath but it is right not you have it otherwise you’d have to use it to curse, Claudio Borghi says: «I doubt that there are people around who know whole pieces of Kramer against Kramer by heart».

I thought that Eluana Englaro who could still have children was unbeatable. Or Beppe Grillo who founds a party and then we see. Or Milan that doesn’t stop. But every day an Italian politician wakes up and says a bigger one. Remove the metaphors, remove the social media, but above all remove the recipe for French toast. They don’t deserve it.

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