It is a very Western thing to think that it is enough to cancel something to convince us that it never existed, allowing us to live peacefully and blissfully until the next unanimous chorus that will ask for a new bonfire to be set in the public square. It is true for American universities that decide to eliminate Homer’s study from the Faculty of Arts because in his work there were no underrepresented minorities and it also applies to all the victims of the numerous scandales du jour that the people of social networks would like to see fired, confined and segregated to be able to say that they have had justice. In the midst of this current, it also slips Mucho Más, the documentary on Gianluca Vacchi distributed by Prime Video which, by chance or luck, was seen by (almost) everyone after one of his Filipino ex-maids denounced Vacchi for harassment at work which, needless to say, are not seen in the documentary and they are not intuited.
Hence the protest of several users ready to ask Prime Video the deletion of the title as unjust, misleading and false, but we are really sure that the best way to deal with the controversy against Gianluca Vacchi is to cancel Mucho Más? In our opinion, no. Not only because eliminating the documentary will not help the maid get the justice she thinks she deserves, but also because throwing the dust under the carpet is a carelessness that we must stop considering an effective remedy. It is not enough to turn away to convince us that something will not scratch us: the documentary on Gianluca Vacchi has seen the work of hundreds of workers and professionals who have worked hard to make it and, like it or not, it would be at least unfair to ask for its removal because, we repeat, it will not be the one to cleanse anyone’s conscience or to guarantee the serenity of the maid who, among other things, has asked Vacchi for compensation of 70 thousand euros.
If, on the other hand, we wanted to consider the product itself, it is a bit disappointing that the documentary has chosen the standard hagiographic setting stopping at the surface and revealing to the public only what the character in question wants to show about himself, exactly as he would do on social media. We witness the life of this 54-year-old man who sleeps two hours in the hyperbaric chamber, slips into a shower at -180 degrees to invigorate his body and gives instructions to the servants on how to follow him in the choreography, and does not tease us as much as he should: not there is a contradiction, there is no dissonant voice, there is not a frame that has escaped the control of Vacchi himself – all the opposite of that marvel of Valentino: The Last Emperor, where we saw Valentino arguing not only with Giammetti, but with the whole crew -. Perhaps, if we had witnessed more authentic moments like the gynecologist who, shortly before the birth of Blu Jerusalema, frowns at Gianluca Vacchi when he asks her to participate in a choreography with her partner there to give birth, the reception would have been different.
Gianluca Vacchi: the complaint of the ex-maid and the reply of his staff
Gianluca Vacchi: «The luxury? It is being able to dispose of one’s time “
Gianluca Vacchi, the surprise for his daughter Blu Jerusalema: “Welcome home”
To receive the other cover of Vanity Fair (and much more), subscribe to Vanity Weekend.
Source: Vanity Fair
