I was afraid I’d be late, and instead the ring of people in front of the door tells me I’m even early. I approach, trafelated, trying to open a path towards the entrance. Lots of bodies, lots of faces, but I only see one: that of Saul Nanni.
We are at the cinema Barberini of Rome for the preview of La Gioia, the new film by Nicolangelo Gelormini in the halls from 12 February and Saul Nanni – in the cast together with Valeria Golino, Jasmine Trinca, Francesco Colella, Betti Pedrazzi – stood out among all, as if a light flashed on the head.
The thing that struck me most is that he did nothing to feed her: he did not show up, he did not raise his voice, he did not call attention on purpose. That light came from within, and he shone, at the tip of his feet, fearlessly, shone.
After all it is not a case if he was chosen to interpret the male protagonist, who amazes and terrifies, enchantes and deceives, intenerizes and makes laugh, smile, fall in love Joy and all the audience watching them.
In the film, inspired by the murder of Gloria Rosboch, Saul Nanni (profile IG) is Alessio, a boy who uses his body as a tool to remedy a few hundred euros and help his mother Carla (Jasmine Trica), cashier in a supermarket. A personality that changes depending on the hours of day and night, a fluid identity that passes from sneakers to vertiginous heels.
Between him and Gioia (Valeria Golino) – a high school teacher who has never known love, if not the oppressive one of the parents, with whom he still lives – a forbidden, fragile and inexplicably necessary bond for both, poisoned by the thirst for social ransom of him and destined for a tragic fate.
At the end of the film, after the press conference, I finally meet Saul, he just turned 27 and continues to shine.
The character you interpret is one and a thousand, has many faces, is istrionic and cangiant. Is there a real or fantasy character you inspired?
Nicolangelo always asked me not to do an emulation on him, he wanted me to somehow find this character inside me, not outside of me. The idea was just this, as you said, I am pleased that you say it first, to build an istrionic character, with a thousand faces and a thousand facets. The goal we had given to Nicolangelo was to find him on stage too, in the sense that we imagined that he was one of those boys who could always be what the interlocutor wanted to see. And therefore, since we had the freedom to be so many things with this character we told ourselves to see who, what, wanted to be in every scene and how he would respond to the interlocutor.
Was there a female inspiration?
Yeah, I thought he, Alessio, somehow wanted to emulate his mother, hold something he wanted to take with him. As far as I’m concerned, I didn’t do any kind of work, consult someone else, something I knew directly. I went to belly.
Alessio does everything to be seen, but nobody really looks at him. Nobody, except Joy, who is perhaps the first to see him for what he really is. You, in your personal experience, what relationship do you have with visibility?
I was exposed to visibility when I was very small, I was 13-14 years old, and I ended up really by chance in this world where I grew up, so this thing of visibility didn’t come from day to day and now, I just turned 27 years old, I can say that it accompanies me half life, grew up with me.
What is joy for you?
Well, joy… joy has a thousand facets, joy… I loved it when Valeria said it’s something outside that you can touch something inside. Joy can be found while I read a beautiful script, while I eat something amazing or while I’m on the road and I see something I’ve never seen.
Constantly joy is everything that makes me feel full, everything that makes me feel in something new or not known.
L’articolo Saul Nanni, thousand faces per <i>La Gioia</i> proviene da IlNewyorkese.
