by Lorenzo Monachesi
Detective Carlo Monterossi, a well-known television author born from the pen of Alessandro Robecchi, is a guest at 6.30 pm today at the Filarmonica theater in Macerata. Tell.
Robecchi, what have ten years of Monterossi left you?
“I need him to talk about us, about our society, about the places where we live and all this doesn’t make him age. I believe in the yellow-social diction, well Monterossi is flexible in talking about society, knowing how to move between its different levels”.
How has the character changed in this period of time?
“Over time I have seen him grow, be more empathetic with normal people, those who have their problems, with the various social strata. In his adventures he meets external elements which he investigates and the investigations serve me to look at non-artificial lives , not the television ones”.
What is there of her in him and what makes him totally different?
“In any character there is a bit of its author because what one has read, heard, written, spoken is transferred to him. Monterossi is a good bourgeois, he lives in the uptown areas unlike me, I have transmitted my love to him for Bob Dylan and also a certain sense of justice, a rebellion against the injustices around us.”
How did the Milanese accept the fact of setting noir in their city and therefore putting the spotlight on the dark corners of a metropolis which in the collective imagination is the city of winners, lights and success?
“This is exactly what I want to do. There is an official, almost obligatory narration of the Milan of lights, of the vertical forest, of fashion, of shopping. We are more than a million and a half people and not all of us live in the vertical forest or in other chic areas. Milan is also a small city geographically where the differences and inequalities are also very close. It is a city with a great noir tradition, I think of Scerbanenco whose greatness was to see the dark corners on the eve of the economic boom. , of a city that was growing in optimism. He thought about observing the dark corners, knowing full well that where there are very strong lights there are also shadows”.
Is there therefore a need to talk about these dark corners?
“This way you do justice to the city, otherwise it becomes a speck when it’s just money, fashion and shopping.”
What effect did seeing Monterosi in the flesh on TV have on you?
“I participated in the script and I’m happy with how the series turned out, I’m also thrilled to have worked alongside an extraordinary actor like Fabrizio Bentivoglio, capable of almost making certain lines useless with a grimace, a movement of his hands. He’s a Monterossi perfect, a little melancholic, bluesy and ironic”.
Mistakes are the theme of Macerata. Tell us, what are the ones your character makes?
“He commits them all the time, the biggest one is to continue to give fuel to that easily tearful television, maybe he does it as a repentant but he continues to do it. Then in investigations he sometimes follows false leads or has wrong intuitions, but in that case I recognize him the mitigating factor of good faith. Monterossi lives within the great error of an unjust city, with sensational social differences and he suffers from it. Being rich, he has no problems and lives in the uptown areas, but he feels that there is a problem down there. injustice”.
