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Il latitante e criminale numero uno, tra i mafiosi più incalliti e pericolosi, intercettato, poi arrestato dopo 30 anni. La storia di Matteo Messina Denaro è finita due volte: la prima il 16 gennaio 2023, quando venne finalmente catturato, e la seconda quando, il 25 settembre dello stesso anno, è morto, portandosi dietro ancora molti aspetti da risolvere.
Un personaggio ambiguo, per nulla scontato, ma lontanissimo dagli stereotipi a cui la cronaca ci ha abituato. Ora, dopo anni di ricerca e studio, arriva un film che ne racconta liberamente la figura, firmato da Antonio Piazza e Fabio Grassadonia, registi noti Salvo e Sicilian Ghost Story, che provano a narrarne la vicenda. Iddu - L’ultimo padrino (in sala dal 10 ottobre distribuito da 01 Distribution), in concorso al Festival di Venezia 2024, parte proprio da qui, e nel quale vediamo un ex politico, accusato peraltro di mafia, appena uscito di prigione (interpretato da Toni Servillo), essere coinvolto nell’avvicinamento al boss, che in questo caso ha il volto di un bravissimo Elio Germano (a breve lo vedremo pure nei panni di Enrico Berlinguer).
Un rapporto strategico, per provare, tramite i Servizi Segreti, a chiudere finalmente il cerchio e colpirlo. “Il film è stato concepito anni prima dell’arresto di Messina Denaro”, sottolineano i registi. “È stato uno studio lungo, complicato, anche perché questa figura è stata sottovalutata. Poi sono stati trovati un po’ di pizzini, un carteggio con un ex sindaco di Castelvetrano, tra il 2004 e il 2006, messo in piedi per ritrovarlo e provare catturarlo. Al di là di una riflessione esistenziale, ne emergeva ritratto infantile e narciso, un ritratto psicologico lontano dalle aspettative da alcuni nomi di mafia, e questo sindaco sembrava incarnare una maschera”.
Elio Germano si trasforma Elio Germano quando deve approcciarsi a dei personaggi realmente esistiti, è una garanzia, ne coglie l’essenza, ce li restituisce nelle loro sfaccettature, anche sgradevoli, fa qualcosa di più rispetto ad una semplice recitazione. “Messina Denaro è stato un uomo misterioso”, racconta, “che sapeva cambiare registro, e questo fa di lui una certa personalità, quel gusto di esibire una certa cultura, questo tendere di dimostrare di essere superiore e migliore agli altri, di avere più diritti degli altri. Eppure, paradossalmente, era pure dolce, sensibile, umano, anche nel comunicare una certa etica, ed è un aspetto perturbante constatarlo, perché in ognuno di noi si può nascondere qualcosa. Il film cerca di portarci dentro a un linguaggio, alla fascinazione di questo mondo, tragicamente ridicolo, che è la vita di questi uomini. Una persona chiusa dentro il suo appartamento che si arrabatta per far cancellare suo passato. Dietro ogni nefandezza celava dei sorrisi, la sua bassezza umana, la banalità del male.”
Il rapporto con le donne
Messina Denaro era un latin lover ossessionato dal sesso. “Nel covo,” dicono ancora Piazza e Grassadonia, “furono trovati 212 dvd, film di Coppola, ma anche Antonioni, e l’intera stagione di Sex and the City a testimonianza che l’argomento gli interessasse. Per anni siamo stati abituati dei boss sposati, coi santini nelle tasche, apparentemente casa e chiesa, ma le donne, nel film, entrano invece indirettamente, è uno dei temi-motivi di contrasto, nasconde un patriarcato patologico che può dare frutti solo malati”.
