The first time that Pina Turco she started to really listen to others it was thanks to her profession as an actress and, later on, to motherhood that allowed her to sharpen her senses to try to decipher the needs and desires of little Giorgio, who is now 4 years old. Before then, trying to get in touch with the other was an effort that her stubbornness made it difficult, if not impossible: «Over time I have learned to fill this flaw of mine. Being an actress forced me to listen a lot and, with the passage of time, I managed to improve myself more and more “tells Turco on the phone from his home in Naples, where he lives with his two men: Giorgio, in fact, and the husband Edoardo De Angelis, director and producer of wonderful films like Indivisible e The vice of hope, the film that saw Pina in the most dramatic and successful role of her career. The theme of listening, especially of the little ones, is one of the cornerstones of Fortuna, the new film by Nicolangelo Gelormini produced by Dazzle Communication, Indigo Film and Rai Cinema focusing on the (fictionalized) story of the small Fortuna Loffredo, the six-year-old girl who in 2016 fell off the balcony of the building where she lived in Caivano after having suffered several abuses passed under the silence of adults.
«She is a child who does not speak, but who speaks. We adults should be more open, but the truth is that not everyone is ready to welcome what the little ones have to say. Fortuna speaks of this gap, of how much the failure to listen is a betrayal »says Turco who, in addition to Fortuna, which sees her in a double role that we will not reveal to you for fear of spoilers, we will admire in the film Female by Francesco Costabile and in I don’t pay you !, the play by Eduardo De Filippo who will see it once again directed by her husband De Angelis, who had already opened the dance of the new Defilippian trilogy on Raiuno with Christmas in Casa Cupiello.
How come she didn’t listen as a girl?
«Because I was stubborn. In my youth I was convinced that I had a very specific path ahead of me and that there were no others to follow. Stubbornness leads you to suffer: in this, listening has always represented an effort that opens up paths that can prove to be very fortunate for your existence ».
What did this stubbornness come from?
“Appearing tough and determined was a way to define myself as well as to defend and protect me. When you grow up, however, you understand that when you break the shell, what you find outside is not so bad. “
What did he want to protect himself from?
“I didn’t really want to protect myself from anything, but to find my place in the world. In the nineties this nonconformist attitude of “I am I” was very common: I felt I did not want to adapt, I wanted to express a rebellion. Anything that shouldn’t have been done I did, it was a way to feel alive. Today I look with tenderness all that has been, and I hope that my son will not be the teenager that I was ».
He said that with acting something has changed in this sense.
“During the first exercises I understood that others must be listened to carefully and I started to live better”.
And to think that, before becoming an actress, she had a completely different path in mind.
«I always thought that being an actress was perfect for me but, coming from the provinces, I also believed I had to carry out something concrete. I went to university because I wanted to teach and deal with kids and pedagogy, a very noble subject for me. It wasn’t a plan B, but another side of me that I wanted to enhance. The universe, as we know, however, works in an unexpected way and, over time, I managed to become what I wanted ».
When did the fuse go off?
“Probably from the first episode of Topaz and from all the series that passed in those years which, for me, have always had a great value in aesthetic terms. I’ve always liked nineties trash, in fact my dream is to make Sue Allen’s Dallas».
Which would be a nice turning point since, in recent years, he has played very challenging and dramatic roles.
“I play damned roles, broken characters who have a lot to tell and on which there is so much to dig into, but the truth is that I would have a lot of fun doing a real pacchianata at least once in my life”.
Does this need for lightness have to do with the pandemic?
“Partially yes. Italy is a country that is collapsing on itself in ironic terms, and we really need to recover that lightness that we have forgotten. Even the Greeks, on the other hand, said that irony is the most sublime art of intelligence. A country that starts having fun again is a country that is reborn ».
Do you practice this lightheartedness at home with De Angelis and Giorgio?
«Let’s say that in my house the person who works hard for me is not the youngest. Seriously, we’re fine at home, even if this year has been tough for us too. In general, however, Edoardo is a very demanding man who is difficult to keep up with, both for the thousands of ideas he has per minute and for his problems with the domestic economy ».
In the sense that he doesn’t help her around the house?
“When he arrives, it looks like ten soldiers have passed. He does not notice his disorder but, apart from that, he is a very good father ».
How do you find yourself working together instead?
“I’m a good schoolgirl, very disciplined and very shrewd. I rely on what he tells me, and he allows me the same things he allows others. We have a very harmonious relationship at work, even if, for example, in the Vice of hope, we all felt a little pressure ».
A masterpiece.
“It was my first big test as an actress: the workmanship was tough, even today it’s a film that I don’t see lightly. I can only look at it when I’m ready to welcome it. The screenplay has a decisive impact on the mood you breathe on the set: in I don’t pay you!, for example, we had a lot of fun because it is a very cheerful text. Working all together was a bit like sitting in the back row of the bus during the eighth grade outing ».
This is the second work by De Filippo that De Angelis offers for TV. Once and for all: the classics can be revisited or there is a risk of blasphemy, as someone wrote later Christmas in Casa Cupiello?
«De Filippo was the first to say that his heart would continue to beat even when it would not have been there, and he also spoke in terms of the staging of his works. Maybe I’m biased, but De Angelis is very good at this, he is capable of not touching the sacredness of the text, but of bringing out many things that fit perfectly into his style. This marriage between Eduardo’s texts and De Angelis’ direction is perfect ».
In addition to being an actress, she has also dabbled in the script in the past. Don’t you ever think about it?
“The truth is that it takes time to do it and, as Virginia Woolf said, a space all to yourself. For now I have set it aside, but in the future, if there is an opportunity, so be it. Meanwhile, with an author we are trying to build a text on a neo-melodic singer. I can’t say much, but I think it won’t be too long before I see it. ‘
(Opening photo by Roberta Krasnig)
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