An ironic, disenchanted, melancholy and generous crime series like its protagonist debuts in streaming on January 17 on Prime Video. An excellent product directed by Roan Johnson, with a great cast and beautiful and warm atmospheres made of Dylan and whiskey. Here’s how Monterossi is and how the authors and the protagonist tell it
Carlo Monterossi is a television writer. A good one, who doesn’t like his job. What he loves is to live well, Milano, its beautiful home, relax with a good whisky, Bob Dylan.
One evening, while he is relaxing, the intercom rings. Robecchi opens, and soon a masked man armed with a pistol is found at the door. That shoots him. He shoots him and misses him, thankfully.
The police investigate, Robecchi does not understand why they shot him, and why the same gun killed two more. Then investigate too, almost a bit like Nero Wolfe, unleashing his two assistants around, Nadia e Oscar.
It begins like this Monterossi, a great Amazon Original TV series, produced by Palomar, which we will see in streaming from January 17 on Prime Video.
Directed by Roan Johnson, the series is based on that of the novels written for Sellerio gives Alessandro Robecchi (who, in addition to being a writer, is also a TV author) who see this character as the protagonist, who has on the screen the ironic and wrinkled air of a Fabrizio Bentivoglio perfect in the part. And, if Bentivoglio is perfect, the rest of the cast are not joking: they are there Diego Ribon e Tommaso Ragno in the role of two policemen with opposite characters; Carla Signoris in those of a cynical and chirping TV presenter; Martina Sammarco e Luca Nucera they are Carlo’s assistants; Donatella Finocchiaro an old flame of hers and Maria Paiato his agent.
Monterossi: the trailer of the series
The first three episodes of the series, which is written by Johnson, Robecchi e Davide Lantieri, is based on Monterossi’s first novel, “This Is not A Love Song”. The second three, on the third of Robecchi’s books, “Of anger and wind”.
The yellow plots work and are original in the way they intertwine the activity of the Monterossi detective with that of a TV author, but above all the series has the strength of a great protagonist, of a great beautiful character tinged with melancholy and disenchantment but capable of great humanity, care and interest in others, even for those who know little or very little, but who feel similar. Because Monterossi not only speaks of cases to be solved, but speaks of people, feelings, sensations, money and social classes, and a Milan suspended between the glossy image of the future and the more shady and peeling image of a past that someone would like forget too quickly.
A great product, Monterossi, a series of great pleasure, of those in which you sit comfortably and which we hope a new season will soon be set up.
Here’s how Bentivoglio, Robecchi and Johnson told us.
Fabrizio Bentivoglio is Carlo Monterossi
“Everything we represent represents us,” said the actor. “I did everything to be told that Monterossi is me, I strongly wanted us to look like the same person. More than one thing binded me to Monterossi, several things were recognizable to me: Milan, belonging to a certain generation, being from Inter. And being in love with the losers. Falling in love with losers cannot be explained, it is something difficult to explain, it seems a contradiction dictated by an involuntary winner like Monterossi. The fact is that you fall in love with what you are not, what you don’t have, what you would like to experience but cannot be. Carlo has a strong empathy for less fortunate people and for young people: having no children and being predisposed to attention to young people, he has an almost filial relationship with Nadia and Oscar, whom he sees as two puppies to put on the right path “.
The Milan of Bentivoglio and Monterossi
“Milan is my city, I studied there, I attended the Piccolo school there and then I left,” he said Bentivoglio. “The Milan of today is different, where there are skyscrapers once there was a moon par … what I remember is a Milan that is much closer to that oldest part that we tell about, that of certain squares or certain fountains that are for me source of memories “.
“Monterossi and Milan are like two lovers, but there is a big conflict between them,” he said Johnson, “Because what he lives in is a Milan he no longer recognizes. The symbol of this conflict is his house, which is furnished with a personal and particular taste, vaguely seventies, but from whose windows he sees the modernity of the city that is besieging him “.
“Dylan is kind of like an uncle. An older brother. A vinyl friend“, he said Bentivoglio. “Someone with whom Monterossi talks and compares. He knows him so well that on every occasion he is able to find old Bob’s song that corresponds perfectly to that moment and that situation. Dylan also brings me together in Monterossi: I also have the vinyls, the volumes with the lyrics in front of them, I also spent sleepless nights trying to decipher his lyrics, the meaning of some of his songs “.
Monterossi and the world of TV
“I think the world of TV told in the series is plausible“, he said Bentivoglio. “It’s a TV that uses feelings and doesn’t tell them. I watch TV only for the news and football matches. When I can, as an actor, I like to look at the theater of Edward De Filippo. Did I do little TV in my career? In part it was a choice, in part it simply came like that, although I admit that I preferred acting in the theater and in the cinema. In today’s series, however, an actor has the opportunity to tell a character with different spaces and times, in a more in-depth way, while cinema requires a greater synthesis “.
Monterossi from books to the screen
“It’s amazing to see something that has always been in your head take shape, characters become real faces,” he said Alessandro Robecchi. “But the most exciting thing about working on a series with many people is the sum of intelligence, the collective work, seeing that from the work of so many people you arrive at choices that contain the mood you thought of. The compromises? The language of cinema and TV is another language than that of the novel, therefore a translation is necessary, which must be faithful to what we wanted to say at the beginning, and in this case the convergence is perfect..”
“I’ve been lucky enough to adapt in the past Malvaldi e Camilleri“, he said Roan Johnson, “And each time you have to figure out what is the best way to safeguard the heart of the book. You can cheat on many levels, but the heart of the book. In this case, Robecchi’s writing is already strongly cinematic and the challenge was not to put extra stuff that would have undermined mechanisms. There is a great uniqueness in this story and in these novels, it’s a bit like the hornet that can’t fly, because on paper this stuff that mixes crime and irony, and that makes an attempt to dig into human feelings and their paradoxes, with a TV writer who becomes a detective, you think it can’t work. If there hadn’t been novels that worked earlier, it wouldn’t have convinced any producer as a project. And instead.”
“If the crime story is good, you laugh and cry,” he concluded Robecchi. “A story well told does this, because what matters is that it looks like real life, and that it doesn’t make a caricature of it.”.