«Carosello Carosone» and the others: off to young people

We are so addicted to the mantra that meritocracy does not exist in Italy that, when we find it in front of our eyes, we are not trained enough to recognize it. It is true that television programs, with rare exceptions such as Valerio Lundini and Marco Carrara, the Under 35s do not even consider them as a smear, but it is equally true that for some time the serial products, from Rai to Mediaset, from Sky to Netflix, have been focusing a lot on young and talented faces that, if we go after market surveys that see the public as a boring mass that looks at news as a threat rather than a resource, they would have no chance of emerging.

Faithful to the hymn of the Moonlight who have won Sanremo with a song that is also the manifesto of a generation that wants to be heard, television is slowly paving the way for talents that perhaps need to be noted. The latest in chronological order are Eduardo Scarpetta e Ludovica Martino, protagonists of the TV film Carousel Carosone broadcast by Raiuno on Thursday 18 March and followed by 5 million and 518 thousand spectators, yet another demonstration that, faced with a quality product and a prestigious story, the public is not there looking at all costs for the familiar face, but the sensitivity of a performance.

Lucio Pellegrini’s film, produced by Matteo Rovere and Sydney Sibilia’s Greenland in collaboration with Rai Fiction, had the merit not only of doing justice to the legend of Carosone by choosing the path of lightness and poetry, but also of giving the right space for young talents who, if we think about it, are perfectly in line with the career undertaken by Carosone himself: the apprenticeship, the need to stand out and the glory of the public once they proved the stuff that no one expected them to have. Eduardo Scarpetta, an actor of high lineage that we will see soon also in the third season of theBrilliant friend and in the film The woman for me, who will see the debut as an actor of Francesco Gabbani, has been acting since he was 6 years old: his first starring role, that of Carosone, arrives at the age of 28, something that thirty years ago should have been the norm and that today smells of rare and unrepeatable exceptionality. Ludovica Martino, who in the film lends her face to Lita Levidi, is strong in the notoriety gained thanks to that gem of SHAME Italy, but also absolutely ready to convince Raiuno’s mainstream audience who, to tell the truth, are now used to being in front of emerging actors and actresses in the evening who have everything to prove.

Let’s think about Tecla Insolia, protagonist of the beautiful biopic dedicated to Nada, The little girl who didn’t want to sing, directed by Costanza Quatriglio, but also to young performers such as Nicolas Maupas, Valentina Romani, Giacomo Giorgio and Massimiliano Caiazzo in Sea Out, a series of rare expressive power that would have deserved more success but which, fortunately, has already been renewed for a second season. Also in Rai, in addition to the great success of DOC – In your hands and to the younger protagonists, from Pierpaolo Spollon to Silvia Mazzieri, from Gianmarco Saurino to Alberto Malanchino, we also report on RaiPlay the performance of Greta Esposito, Romano Reggiani, Cosimo Longo and Federica Pagliaroli in Mental, the first Italian series entirely dedicated to children suffering from psychiatric problems, while, moving to other realities, applause to Mediaset and the choice of the talented Greta Ferro as the protagonist of Made in Italy, but also a Netflix that, between the newcomer Coco Rebecca Edogamhe and the more experienced Ludovico Tersigni in Summertime and the emerging Elvira Camarrone and Christian Roberto whom we will see in the film On the same wave by Massimiliano Camaiti to be released on the platform from 25 March, he has never been afraid to dare. Same goes for it Sky which, between Andrea Arcangeli in Romulus, Pietro Castellitto in I was hoping de died first, Guglielmo Poggi in Cops- A gang of cops, and Giulia Dragotto with Anna (the latter will arrive on April 23). In short, it would be nice if in the speeches on generational change that we have been parroting for thirty years now, we could remember them too, perhaps with that Baudian pride of “we discovered them”.