by Giorgio Simonelli
“However it goes it will be a success,” said Piero Chiambretti in Sanremo. This should reassure Carlo Conti, but it is not said … the good presenter (no irony to arbore in the definition) has a beautiful cat to peel and, even if it has always revealed itself very skilled in these slightly complicated situations, not There are no problems.
The first is that of the audience. Amadeus made stratospheric listening last year and his non -renewal left some doubts and some suspicions (one also rather credible). Do not replicate that result, which would also be physiological, would inevitably open the doors to a political controversy over the choices of the new Rai managers. The question is completely absurd, but if you begin to describe Amadeus as the new Antonio Gramsci, theoretical and organizer of the cultural hegemony of the left, and we talk about Sanremo as a bivouac of extremists (as Vannacci did), is inevitable that a nonsense follows another.
For now, according to the declarations of intent, the lines that Conti has promised to follow are shared: shorter evenings (but as it will do with many songs in the race it is not clear) and above all abolition or almost of guests’ monologues. Personally, I have always thought that those who go to a song festival, instead of costing the story of their life imbued with rhetoric (see Leotta or Palombelli in recent editions), should play with something musical. Then, as you can do with Gerry Scotti or Antonella Clerici, I don’t know, but the authors are there for this.
The other theme that has already emerged with a certain insistence is that of the lyrics of the songs, which would privilege sentimental themes in spite of the social ones that had established themselves in the climate created by that well -known Amadeus Trotskist. Indeed, perhaps we can remove the conditional, since on Printing an incontestable appeared cloud Which shows how the most common words this year are “love”, “I”, while “heart” is proposed in its diminutive-vezzative version “hearts”.
But every time you face this problem of staff supremacy on the politician in the songs, one cannot help but return to what a profound connoisseur of the human soul as Truffaut told us about the topic. Remember The lady next door? When Mathilde, Fanny Ardant, overwhelmed by the pains of love, tries suicide and is hospitalized in the clinic, Bernard, Depardieu, goes to find it and, seeing a radio on the bedside table, if you please: I see you are better, keep you informed . “No” – the beloved replies – “I listen only to songs, because the songs say the truth, they say” You are my love “,” I can’t live without you “and this is the only truth”.
Here, we hope that Sanremo’s songs are also able to do this, that their most widespread words – love, life, eyes, always, beat and hearts – are true.
