«Vicienzo» De Luca, the capopopolo and character of himself (who has his nemesis in Schlein)- Corriere.it

It happens, in the commedia dell’arte: if you are not the great Eduardo, the mask prevails over the actor, and almost eats him. So, you try to interpret for thirty years the mocking, scurrilous and much-loved character of Vicienzo capopopolo by his family, while remaining at the same time that young philosophy professor who in the early seventies went to the Persano countryside to lead the peasant revolts under the beatings of the police. Quick. By dint of insolence, gritting his teeth, peeing at inconvenient journalists and electrocuting his political opponents with a porto seccia (bad luck), Vincenzo De Luca has become his own character actor. In a script that in the last pages foresees his Nemesis, played by the most distant from him that has ever appeared in politics, Elly Schlein.

atindigestible secretary Bolognese-Swiss-Americanwho commissioned the party from Campania with an expansive Bergamo native like a block of sandstone (the excellent Antonio Misiani), therefore dedicated the last insolence of the catalogue, cacicca ante litteram, and the last jab, Pasolini was not aware of color matching, an hour with the color matching is two-thirds of the minimum pension: even if, as Enzo D’ observes Errico on Southern Courierwith our hero it is better to be careful and always talk about the penultimate sortie, because maybe the last one is firing right now, while you are reading these lines.

Certainly, the governor of Campania s’ very identified with the part. And it was very believed. Vicienzo c’ pate a nnuie: Vincenzo our father, recite, paraphrasing Scarpetta, the placards hoisted by the commoners of the districts who descended as far as Palazzo di Citt, on the evening of his third, prodigious, re-election as mayor of Salerno in 2006, as a maverick and against the centre-left.

he’s conquered that mournful crowd by reclaiming the alleys of the center previously impracticable, leading the traffic police, this time on the other side of the truncheon, against drug dealers, non-EU citizens and racailles in general, to quote Sarkozy. He becomes Vicenzo ‘O Sheriff and the script begins like this. He foresees long lectures from the pulpit of Lira TV (with pilloried films for those who leave the rubbish out of place), a family-party to be projected into the future (Elly’s second blunder was having removed his son Piero from him as deputy group leader in the Chamber), a certain megalomania (with the dream, later turned into a joke, of his own mausoleum in piazza Libert, in the heart of Salerno ), the contumely as truncheon in major politics.

Thus, Rosy Bindi, who as president of the Antimafia puts him among the unpresentable for an abuse of office from which he will be acquitted, she becomes unpresentable, in every sense, to be killed, only to then reclassify the sortie as a journalistic delinquency by threatening lawsuits.

The pentastellato trio, Di Battista, Di Maio and Fico, are branded with a three half blowjobs, miraculously cured (but also in the Democratic Party I found blowjobs and flowers of scoundrels, specifies ours, to follow). Di Maio easy target: De Luca gives him Charlie Brown, recalling that in his Pomigliano he got 60 votes, he had to be a carpenter, then he got lost on the street and we find him vice president of the Chamber. When he leaves the Five Stars and becomes a possible ally, he starts off for rehabilitation and now, as an envoy in the Persian Gulf, the good Gigino is an Italian who is destined for a great responsibility from Europe, amen.

In short, the inspiration can push Vicienzo to play as a subject and at convenience. Crozza a revealing litmus paper. If Bersani, completely devoid of communicative strength, forced to steal the jaguar to be cleaned to make it the slogan of the 2013 electoral campaign and in short, to imitate his imitator to find an identity, De Luca reverses the paradigm: any gag of the Genoese comedian about him appears dull compared to the original, which is a commedia dell’arte, in fact.

Machista, politically incorrect, Vicienzo plays the homo de panza or consequently man, father of his people, a figure venerated by the Neapolitans; senonch, as an adopted Salernitan (he comes from Ruvo, Basilicata), has a full-blown idiosyncrasy for Naples, almost as much as the one he has for the Democratic Party, as observed by Simona Brandolini. Populist before populism was fashionable, sexist before Me Too set some limitsleaps into modernity by replacing Facebook with Lira Tv. D of the dazed doll in Virginia Raggi, the minister Giulia Grillo claims that he spends all the time insulting her.

With Salvini, his natural theatrical antagonist, he has a lawsuit touch: Capitone, worn backside. Even the Northern League Captain, also used to distributing insults, appears dumbfounded: It is unworthy to continue on this path. Not to be offended, just remember that Vicenzo is not real. It seems that for the most part neither were the batons in the hands of his brigades. A disappointed lieutenant of his recounted it: There were twenty real ones, the others were made of plastic, for the photographers.

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