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Vita vissuta, carriera, ambizioni, sogni e progetti da realizzare, famiglia, ideali. Enrico Berlinguer è stato un faro indomito, non solo nella politica e in ciò che fu il Partito Comunista Italiano, di cui ebbe il ruolo memorabile di Segretario, ha incarnato soprattutto un protagonista votato a unire, piuttosto che dividere. Lo hanno riconosciuto anche i suoi avversari. Chissà cosa direbbe di quello che sta accadendo oggi in Italia?
A 40 anni dalla morte del segretario del Pci
A distanza di a 40 anni dalla morte, la sua figura torna ora al centro dell’analisi e riflessione. Succede grazie al film d’apertura della 19esima Festa del Cinema di Roma, Berlinguer. La grande ambizione, diretto da Andrea Segre (in sala il 31 ottobre distribuito da Lucky Red, ndr) e qui interpretato da un sempre sontuoso Elio Germano. Non un semplice biopic, semmai un viaggio specifico, temporale del personaggio-uomo Berlinguer già noto e ricordato da tutti, visto in un momento chiave, dal 1973 al 1978, focalizzandosi nel 1975 e il 1976. Per essere chiari: si va dal colpo di stato in Cile, rovesciando il potere di Allende, il mancato “attentato” a Sofia ai suoi danni, da parte dei servizi segreti bulgari, fino al rapimento e uccisione di Aldo Moro ad opera delle Brigate Rosse. Andrea Segre, il regista, ne racconta la genesi, partita sfogliando un libro da Piero Ruzzante e Antonio Martini che narrava gli ultimi giorni di Berlinguer, Eppure il vento soffia ancora. «Abbiamo riflettuto sul fatto che il cinema non avesse raccontato mai raccontato non solo Berlinguer, ma quel pezzo d’Italia, quel un terzo di italiani che lo hanno vissuto intorno, da dentro, l’esperienza del partito comunista italiano, un elemento della nostra società».
Elio Germano, leader di bravura e trasformazione
Ma la forza del racconto filmico, a tratti troppo didascalico forse, ma ben riuscito nel mixare filmati d’archivio a messa in scena, passa ancora dalla bravura fisica e vocale di Elio Germano, l’attore delle sfide, chiamato a impersonare i protagonisti più articolari della storia, della letteratura e dell’arte, rivedersi le interpretazioni al riguardo di Giacomo Leopardi (ne Il giovane favoloso) e del pittore Antonio Ligabue (in Volevo nascondermi). «Credo molto nel linguaggio inconsapevole dei nostri corpi» sottolinea Germano. «Il corpo di Berlinguer, la sua prossemica involontaria, raccontava un senso di inadeguatezza, di fatica, responsabilità, peso, e una mancanza di attenzione verso l’esteriorità. Il suo corpo è stato anche una fonte di ispirazione. Il film non ha mai pensato, però, alla situazione politica odierna, non ci siamo mai interrogati sui riferimenti moderni, la questione della grande ambizione invece lo è, è viva. Disveliamo la menzogna che la felicità è prodotta dalla competizione, dall’accumulo, dalla gara, dal vincere. Si sta meglio quando si condivide. Quando uno fa le cose per una grande ambizione, forse farà uno stipendio minore, ma sta meglio al mondo».
L'annosa questione della leadership
«Oggi», dice ancora Germano, «si fa un gran parlare di leaderismo, di quanto manchi, su chi dovrebbe essere. Ma siamo sicuri che la risposta sia nel leader? Berlinguer era un segretario, c’è una differenza semantica importante. Chi lo ha descritto, ci raccontava del suo “inquietante silenzio”, faceva parlare molto gli altri, ascoltava la ricchezza diversa dei punti di vista, e desumeva. Era un rappresentante del popolo. In quell’atteggiamento c’era tanto di quello che oggi non abbiamo più: una modalità di risolvere le cose in una dimensione collettiva».
