Caution. If you don’t want to know who won Lol, avoid reading this article.
The most serious is the one that is least funny? Whatever the answer, among the ten little Indians ridens the contestant who managed to clench his jaw without crippling into a grin twice Ciro of The Jackal. remained serious until the final challenge, a hand-to-hand with Katia Follesa until the last line when the comedian’s mouth curled up in a smile. Ciro the comedian who does not laugh, the one who gradually made everyone else dry, impassive and seraphic, cold and indifferent, only two expressions: hatless and hatless. In six hours Ciro only laughed once, but Lol – Who laughs outside funny or not? Laughter is part of that random sphere of the subjective where any answer is valid. Trying to be objective, the things that seem to have worked best are the visceral, immediate ones, the slapstick comic, that is elementary, which uses body language and is articulated around gags that are as simple as they are effective. To understand the classic of the slide on the banana peel.
A primitive, almost ancestral form of comedy: Lillo who plays the superhero Posaman, Elio who presents himself disguised as Gioconda, the joke of Pintus to the fake orgasm of Katia Follesa … Basically stupidity wins, as if the situation dulls the more it makes you laugh. Against Lol it shows us that it is now very difficult to be a good monologist, intellectual comedy usually makes you laugh more but more inaccessible because it is more refined. We are now immersed in a world – starting from politics – where the belly wins over the head, e Lol in this sense certainly a contemporary product.
In one case the strong point and the weak point of the program coincide: the assembling. Editing helps the show but at the same time takes away credibility. On the one hand, an advantage because eliminates downtime, corrects errors and smudges, improves the product packaging. At the same time, the viewer knows that he is attending a show that is not live, that everything is written, that he has his own narrative dramaturgy that does not marry spontaneity at all. And in this sense the laughter of the two conductors (Fedez and Maionchi) are annoying: they always seem fake, exaggerated, unnatural.
Another strong point lies in its simplicity: a competition for who never laughs a game we all played as children, then shoot immediately the recognition in something familiar to us. Then it works the TV series mechanism, because there are 6 episodes and each one ends with the final thrilling: one of the contestants will be warned or expelled and therefore it is inevitable to watch the next episode. Among the points, if not weak but certainly to be improved, there is the cast: Fru and Luca Ravenna were decidedly subdued, detached from the game and not by chance they came out first. Matano – which also seems to have laughed several times – instead worked and for this reason the production took great care to eliminate it immediately. This is to remind us that Lol a format, a written product, where what in reality is not spontaneous is passed off as spontaneous. Not a genius but not a boiata. It’s funny? N, a little if a little not.
(Listen below, from 14’57 on Corriere Daily podcast, Renato Franco’s speech on Lol)
April 8, 2021 (change April 8, 2021 | 09:36)
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