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Many anniversaries are intertwined with memories, making the end of summer a moment of reflection and looking at the past and the future at the same time. In this case, in fact, yesterday and tomorrow take each other by the hand, with the present as a place of transit, waiting to be able to look forward and finally turn the page. And so, twenty-five years after her death, we can only remember Princess Diana Spencer, who died in Paris on August 31, 1997, in the cursed Alma tunnel, while she was in the company of her boyfriend Dodi al-Fayed, emblem of the United Kingdom crisis. in a historical phase in which there was still talk, erroneously, of “Cool Britannia”, with Blairism at its peak and a feeling of invincibility that would soon prove to be a pure illusion. In this regard, the recent revelations of Meghan Markle, now the wife of Prince Harry, are not surprising, who revealed further gory details about the increasingly difficult relations between her husband and the family of origin, exposing a monarchy never so in trouble and out of time, despite the celebrations with great fanfare for Queen Elizabeth’s Platinum Jubilee. The tragedy of Lady D. has forever changed the perception of the British and their relationship with the Crown, leading a large part of the citizens to take a much more critical approach towards an institution deemed, essentially, guilty of the unhappiness of a beloved woman and still in the hearts of millions of people in every corner of the world. It was at that moment that the Windsor universe fell apart and since then, in spite of reconciliation, worldwide weddings and the Queen’s overtures, it has never recovered. Only a radical change in style, customs and, perhaps, a clear generational shift, with William’s accession to the throne in place of his father Carlo, could restore enamel to a reality that decisively discounts its delays and its epochal crisis. It is not so much the monarchy that is in crisis, in fact, as that model of kingdom and the pomp of a court too far removed from the informality that dominates the present time.
Ten years ago, then, at the age of eighty-five, Cardinal Martini, forerunner of Francis and point of reference for anyone who has believed and continues to believe in another idea of the Church and of humanity, said goodbye to us. Martini, symbol of the other Milan, the one that had nothing to do with the coarse ostentation of power by a certain politics and a certain business world and stardom, was at the same time a saint already in life and the anchor to which those who wanted to rediscover the deepest essence of the Gospel clung, moving away from the pomp of the Roman curia and a conservative environment that has caused so much trouble to the Church and to our being together. Martini contained a spirituality, a joy of living, a love of neighbor and a sense of authentic faith that made him an example and a friend also for all and all those who were not animated by faith but felt, however, the need to recognize oneself in a figure that stands out above our daily miseries. Martini was able to take care of us without ever pointing the finger, without judging, without ever pretending to have the truth in his pocket and showing the way with his simple pastoral action. There was an inner beauty in him that we miss very much, especially these days.
This year also marks the sixtieth anniversary of the release of “Il sorpasso”, the masterpiece by Dino Risi, with Vittorio Gassman and Jean-Louis Trintignant (we celebrate the hundredth anniversary of the first, the second has recently disappeared), of Italy in the boom, with deserted cities in summer and the merciless story of a season that was by no means all roses and flowers. Not surprisingly, in the film’s dramatic finale the worst component of a happy season is highlighted, accompanied by a subtle warning that very few were able to grasp at the time. Risi warned us about the excesses of well-being and its dark sides but, however appreciated and esteemed, it was not fully understood, and now we realize how many distortions that tendency to boastfulness and continuous exaggeration has brought with it. Now that we are unhappy, we have perhaps understood, in a small way, that rudeness, arrogance and vulgar display of success was not the right way to build a community and live together in a civil and constructive way.
Finally, fifteen years ago, a good presenter like Gigi Sabani and, above all, maestro Luciano Pavarotti, one of the greatest tenors of all time, left. It is superfluous to recall his interpretations of Cavaradossi in Puccini’s “Tosca”. Much more useful, however, is to dwell on his modernity, on his ability to bring opera into anyone’s home and on his love for music at three hundred and sixty degrees. He was, with enviable foresight, one of the first pop tenors, happy to sing even less demanding songs and skilled in giving life, together with José Carreras and Placido Domingo, to a world-famous trio that moved international audiences, giving everywhere joy and extraordinary interpretations. He said goodbye to us when he was only seventy-one years old and, although Bocelli and the boys of the Flight are very good, the void is felt and cannot be filled.
Magnificent summer season but also rich, alas, with pain and sadness.
PS This article is dedicated to the genius of Enzo Garinei, who recently passed away at the age of ninety-six. Together with his brother Piero he embodied a revolution in the world of art and theater, filling our lives and even our cinema with joy and beauty. A giant in the true sense of the word.
PS 2 An affectionate thought to Amadeus, polite and nice presenter who turns sixty on September 4th. Our best wishes and a big hug.