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Gaza, Israel’s accusations against UNRWA are fake news. Italy should go back to financing it immediately

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Gaza, Israel’s accusations against UNRWA are fake news.  Italy should go back to financing it immediately

Rome, 23 April. (beraking latest news) – The birth or rather the rebirth of a star. ‘Sei nell’anima’, the biopic on the first 29 years of Gianna Nannini’s life, starring Letizia Toni and directed by Cinzia Th Torrini, arriving on Netflix on May 2nd, finally reveals why the Sienese rock star, who on June 14th she will be 70 years old, consider her true year of birth to be 1983. A fact known to Nannini fans but never explained until now. “The moral of the story is that there is always an alternative/Death is obligatory, but age is optional”, sings Gianna Nannini in the song entitled ‘1983’ (and published a few weeks ago in the artist’s new album), that runs over the film’s credits. That year, Nannini, who had already achieved success with the single ‘America’ and the album ‘California’ and who was working on the album ‘Latin Lover’ in Germany, had a psychological breakdown, probably under the pressure of the demand to churn out new hits within the tight deadlines required by the discography. A collapse that manifests itself with hallucinations and psychotic and panic attacks, so much so that she risks hospitalization in a psychiatric facility, avoided only by the closeness of her family and her first great female love, Carla (played by Selene Caramazza), who later becomes life partner. From that collapse, Gianna will get back up and from there the most prolific season of her career will begin, truly made up of hits that will arrive one after the other and which will make her the most appreciated Italian rocker, even abroad, with timeless songs and albums such as ‘Fotoromanza’, ‘Profumo’, ‘Beautiful and Impossible’, ‘I Maschi’, ‘Maravigliosa Creatura’ and indeed ‘Sei nell’anima’ which gives the film its title. “The hit is a miracle, a magic that doesn’t come on command”, underlines Gianna today.

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Letizia Toni, selected after a very long casting (“too many actresses proposed imitation or caricature”, says the director), admits all the difficulties of playing the protagonist of a biopic on a living artist: “At first I was afraid , I had a mountain to climb in front of me, the meeting with Gianna was decisive. I worked on the many things that we had in common: our Tuscan origins, the distance from the family that did not support my artistic choice…”, he says. that she studied her voice for over a year, in order to be able to interpret many of Gianni’s songs included in the film (“only in the scenes of the concerts and her father’s funeral, the voice is Gianna’s original”, underlines the director). Gianna speaks of her as “a force of nature, the only possible interpreter of this film”.

The film, produced by Indiana Production and written by Torrini (who has known Nannini since the 70s due to a friendship that already linked the mothers of the two artists) and by Cosimo Calamini together with Donatella Diamanti and Gianna Nannini herself, is based on from “Sei Nell’Anima – Cazzi Miei”, the artist’s autobiography published in 2016, out today in a new special edition, published by Mondadori. “I had been trying to make this film about Gianna for a very long time but there was never time to stop and discuss and write with Gianna who is in eternal movement. Until, with Covid, we finally took advantage of her break to make very long sessions of stories, questions, anecdotes via zoom, with her and the other screenwriters”, underlines Torrini. While Gianna admits: “I thought it would never be done. But I didn’t want the usual documentary, two balls. And yesterday seeing it on the big screen (in the applauded preview at the Cinema Barberini in Rome, ed.) I was moved”.

The story follows Nannini’s story from her childhood in the family, with her expulsion from the school choir where, as an anarchist ante litteram, she tended to impose her own time (“there I promised myself that I would become a singer”, she says today) and with the contrasts with her father Danilo (played by Maurizio Lombardi), a well-known confectionery industrialist, producer of the famous Ricciarelli, which will cost Gianna, busy self-financing her passion for music with her summer job in the factory, two phalanges of her left hand cut off from a mixer. Her father wants her to be a tennis player and not a singer and when on the cover of the ‘California’ album he sees her surname associated with the Statue of Liberty brandishing a vibrator, he goes into a rage and Gianna breaks up with the family for a long period until reconciliation precisely on the occasion of the psychological breakdown. In the film there is all the revolutionary energy of an artist who refuses to be caged in the musical and aesthetic cliché of the pop singer, aided by a young Mara Maionchi (played by Andrea Delogu), enchanted by Gianna’s original potential but harsh in opposing it excesses, including a motorbike escape and some experience with drugs. “But the most important message in the film – says the protagonist Letizia Toni – is that anyone can find themselves in the tunnel of a fracture in their identity and anyone can get out of it”. As Gianna says while singing in ‘1983’: “First I lost sleep and then my appetite/But my heart healed itself over time/There’s always another round, the rock and roll begins.”

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(by Antonella Nesi)

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