Erik Gandini used the concept of the evil of banality – investment of the banality of evil by Hannah Arendt – to describe the pathological universe he documented in his brilliant Videocracy (2009), descent into the hell of Berlusconism in which the figure of the president was not as important as the high radius of moral infection that extended around him. The material seemed to cry out for a satirical look, but Gandini preferred not to frivolize and leave the spectator with the blood progressively frozen. In one of the most unspeakable moments of Videocracy the video of Berlusconi's presidential campaign was shown, with the song Meno male che Silvio c'è!, who would end up reaching the top 10 on Spotify after his resurrection for the 2018 elections.
SILVIO (AND THE OTHERS)
Address: Paolo Sorrentino.
Interpreters: Toni Servillo, Riccardo Scamarcio, Elena Sofia Ricci, Kasia Smutniak.
In Silvio (and the others) -International assembly of what is originally a diptych: Parrot Y Parrot 2-, Paolo Sorrentino recovers the anthem and reconstructs, in his own way, an electoral video, but what his images transmit, under the emphasis that everything is a supposed fierce satire, is not the same thing that Gandini's film was transmitting: it beats a strange fascination with that hypersexualized imaginary of velinas praising the beloved leader. Fascination that not only runs through this sequence, but becomes the dominant aesthetic key of the entire film. The question to be asked is whether it is possible to count Berlusconi avoiding the aesthetic vulgarity of a system of power based on what we might call the proxenetization of politics. In other words, Silvio (and the others) is a film that shouts loudly his intention to make fun of Berlusconi while surrendering again and again to the seduction of his obscene imaginary.
Toni Servillo galvanizes the screen – and, perhaps, gets to the character's bone – in the long monologue in which Berlusconi recovers his essence as a salesman by calling a solitary possible voter, but in the rest of the film he rarely transcends the mask . Silvio (and the others) he even flirts with the idea of a Berlusconi regarded as a romantic tragic hero, with that allusion to the resemblance between his lovers and his hostile and elusive wife who has all the traces of a bleach of cipotudas essences. In the end, the L'Aquila earthquake serves as an excuse for an emphatic ideological gesture disguised as a religious duel, which is late and sounds false.