“How are you? How are you? Tutubene, however. How are you? How is it going? I am willing to toast ”. Ciao 2020 (reads: ciaoventiventi) is the Russian hypertrash program, however, spoken and sung all in Italian, of the new century. He was here with us Tommaso Labranca “He would be willing to toast”. An hour of short comic sketches and hypnotic singing performances in playback catapulted by sequins and colors with incredible protagonists: Dora, Alessandro Pallini, Giorgio Criddi, Julia Ziverti, Arti e Asti, La soldinetta and Vittorio Isaia, Niletto Niletti and Claudia Cocca, the Piccolo Grandi, the Crema de la Soda, the actresses of the film “Quatro putane”. A cornucopia of colors and moods of forty years ago, a vocabulary of bold and macaronic Italian that not even in Rocky IV, an epoch-making chorus of goggles, glasses, make-up, mustaches and breasts immersed in aatmosfera alla Drive In.
To invent the happy news, the verb that became flesh, a space-time tunnel between Discoring and Popcorn, was the most famous Russian TV presenter, Ivan Urgant. Popular in his homeland as Amadeus or Carlo Conti, but also with his beautiful Letterman format with armchair, band and desk, given the imminent arrival of New Year 2020/2021, he has put on his head a brunette wig with straight hair pulled back. back, a teardrop eyeglasses and a bow tie that maybe not even Toto Cutugno a Fantastic. In short, Urgant has also transformed himself into a certain Giovanni Urganti. A clone of some strange pop reflexes of Italian TV and light music from the Eighties reworked in Russian sauce. To the program that went on like a vintage Laughter – you can find it on Youtube here and add to the already over two and a half million views – you couldn’t ask for better. A comic curtain with Urgant, surrounded by comedians Matteo Crustaldi (a little guy with a mustache and a lion’s mane that scares Tony Manero), Alessandro Gudini (another wig but with a shady briefcase in his hand that not even Elwood Blues) and the oversized Allegra Michele ( Tinì Cansino, pardon, avoid), then away with music. Describing them in words is one of those inquisitorial sins.
If you thought you saw it all when Niletto and Niletti and Claudia Cocca sing Crush and he arrives on skates, in front of Crema de la Soda, she is a blonde with two policemen like Chips with keyboards and synthesizer, with dancers behind him, one dressed as a Juventus player (number 3, Cabrini?), one as monsignor and one from the Swiss guard, you will be shocked. And when the Piccolo Grandi (which are then a kind of Riches and Poors) will sing a very tight techno disco version of Mother Mary the miracle of emotion will occur. The apex of pure trash, a ramshackle, voluntary, well-kept repetition of an imaginary that we thought buried in Italy, but which in Russia is a very successful joke.
And then again, via di Bingo with Gigi extracting the balls (Gigi is a big man who seems to have come out of a nightclub in Torvaianica); with the gag of the porn director Alessandro Pallini (it’s Roccone ours, of course) who shows gay porn only to male participants from an old disk video camera (“because the cinemas are closed”); with Girolamo Paffuto, a very chubby little man who dances the breakdance as articulated as a puppet; with the irresistible jokes of Matteo Crustaldi (“Once I took a taxi and woke up on Lake Como”, and down laughter). Finally, the climax with the arrival of Pippo the second, an Orthodox pope who, holding a multi-socket power strip in his hand, presses the ignition button and the Christmas tree lights up. Happy 2021 shouts Urganti, who in the meantime started singing with The Soldinetta and Vittorio Isaia, “I asked an ash tree”; but above all Hello VentiVenti and thanks Ivan.
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