Chaos lover

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There is a rare breed of news of death that make you tightly squeeze your lips so as not to laugh. Even if there is no one nearby who could fall upon you with reproaches in immorality. The point is not only that the wires of life are so deeply and in detail ritualized by human civilization that they seem the only common, so say, the unwritten tradition of this world. In this light fit-to meet the death of another smile-a person inevitably encounters an external vision of his own death: what if someone smiles the same when I die?

Armed with all possible precautions, we can assume that Silvio Berlusconi would not insult such a reaction to his death. No European policy on the foreseeable horizon so often wanted death. This, of course, is not about anonymous comments on the network. In the face! Affection, maximum theatricalization - the generic property of Italian politics. Berlusconi did not just read this tradition, always responding to insulting a smile. Delayed, sophisticated and, as many speak in Italy, avenge criminally avenge. But more often, he still let go of an insult into the sky, otherwise, in accordance with the number of attacks against him, a civil war would have begun. And in Italy, with all the love of left -wing Italian publicists to strong expressions, in the era of Berlusconi there was never even a ghost of what could be called war. We now know well the allegorical meaning of this word.

Berlusconi was an outstanding performer on the stage of the civilian theater. He adored the fact that foreigners, and most of the citizens of the Republic of Italy, call on the eternal Italian mess . Promising, of course, in all his political speeches to finally end him, Berlusconi religiously worshiped the Italian chaos. Because the chaos is ancient. So, wiser than him. But more importantly, chaos limits the space of the game, establishing the rules for it. Chaos is dangerous. Cosmos is truly belligerent. Any war is aimed at chaos.

Berlusconi would not be upset because of a smile and even laughter about his death also because he himself turned the wires of life into a booth to match the reality show, quiz, songs and dances on the television channels of his Mediaset empire. The number of his conclusions and extracts from the Milan Hospital "San Rafael" over the past year and a half, it seems, literally coincides with how many times he returned to the chair of the Italian prime minister. Between the hospital and home bed, he managed to give an interview, attend party assets, parliament and even play a wedding with an outstanding party in the party, 53 years younger than him.

The gambling and somewhat reckless struggle with the dynamics of aging led to the fact that the face of Berlusconi ultimately froze after all these cosmetic manipulations. It began to resemble a posthumous mask. This naturalistic detail would be completely unnecessary in the posthumous statement about life in a length of 86, if not for one circumstance. In almost all the photographs remaining from this dying stage of Berlusconi photographs, this mask shines greatly: do not wait!

The most popular Italian groan "Berlusconi will never die!" does not need to explain in Russian. There is no doubt that at least several million people are now convinced that the news of death is the next ugly draw of Berlusconi. That at the funeral in the open coffin, one eyelid and gathered, trying to depict sorrows suddenly rise, suddenly they will hear a cabaret laughter. As in the first frame of one of the scenes “8 ½” performed by the confused confusion.

Actually, the laughter around Berlusconi is the only important thing to talk about in connection with his death. Berlusconi was sure that it was not ideas, but laughter - a weapon of separation, disconnection and enmity of people in the modern world: what they laugh at and how they laugh at. Exactly so, wanting to separate and separate, he threw one of his “impossible jokes” in response to another dull moralization when he chaired by the European Parliament: “In Italy, they are now making a film about Nazi concentration camps. I will offer you for the role of Kapo! (privileged prisoner who collaborates with the Nazi administration. - approx. "Cold") . "

We see annoying grin and hear a nervous laughter. There was always a lot of nervous laughter next to Berlusconi. This is a recognizable reaction. So a well -mannered person in any part of the world defeats the desire to scold and give a fist in the face. So he reacts to an unacceptable violation of the regulations, behind which there is always a desire for educated people to make everyone educated.

It will not be an exaggeration to say that the educated, educated Italy did not endure Berlusconi. He was ashamed of him in front of the whole world. This is very clear to an American or Russian educated person. In various kinds of journalistic constructions, a triangle is popular, in which, in addition to Trump and Putin, contrary to the role and weight of today's Italy in the world, it is customary to include Berlusconi.

This is a very unreliable construction already in the first approximation. Trump inherited his condition from his father. Putin received power by decision of the elites. Berlusconi - that in business, in politics, that in football, where he also achieved outstanding successes, for several years, having defeated the world with the “Milan” coach Arrigo Saki with his revolutionary ideas, he always went on stage as an artist, stand -up, defenseless before the public reproach. His jokes not only laughed, his promises were not only fascinated. He was expelled with a whistle and curses, so that, to the horror of the Italian intelligentsia, “this country” and “this people” again invited him to the stage by applause.

If you cleanse this concept from a scholastic bark, reach its neutral basis, then Berlusconi, perhaps, should be recognized as the most democratic in nature by its politician in modern history. And the story of his business is the most American in the world.

But the intelligentsia continues to draw its abstract figures, black parallels and caustic allegories in the air, so that, obeying their purpose, to expel bias.

The choneless, essential claim of the educated class of Italy to Berlusconi, for which they really wanted to put him in prison, dissolve in oblivion - his vulgarization of Italy. This could be considered a too slurred description of the conflict if it were, say, about America, and not about Italy. The famous statement of Andrei Sinyavsky “I have stylistic discrepancy with the Soviet power”, which was ranging in Russia with a daring paradox, is a common place for Italy. In relation to Berlusconi, millions of 20 Italians signed under these words. It is considered a generator and a distributor of a poisonous, unprincipled tastelessness that has corroded the body and brain of the most beautiful country in the world. The nuance is important here. Not the best country of the world, which would make such conversations an ordinary form of obscurantism, but the most beautiful. The countries that gave the world the idea of beauty is exactly so irrefutable as Russia gives the world gas.

This is a very difficult question to deal with him in the memorial word to the former prime minister of Italy. But we have, if not a hint, then a landmark that cannot be looked at. This is a huge luck. He will not find like a horizon. Even in the case of dead heroes of history, it is sometimes difficult to find a powerful embodiment in an artistic image compressing disparate data. Take at least Lenin, where, it seems, only Danilkin was able to move the dead load. What can we say about the living. And in this sense, Berlusconi is also exceptional: even during his lifetime, he immortalized the greatest artist of modern Italy Paolo Sorrentino.

In his film-which is indicative, greeted by cold silence, as it happens when a pleasant and progressive person writes to Facebook to hell that everything is wonderful. Starting from the name. "Loro" - "they." “They” is the starting point of the review of Berlusconi. Obviously negative, as a journalistic film. The film opens with a 40-minute panorama of their morals under the mocking disco hits-corrupt, obscene, like his television, fallen Italy Berlusconi.

But then Sorrentino changes optics. Once, another, third. Before us there is a flickering character - grotesque, vulgar, witty, insightful, sentimental, unchanging only in the fact that he always lives on stage. Sorrentino formalizes the principle of baroque - cascade of deception. We are moving through the Arcades with visions, where only the desire of the hero to live on stage and smile is true. In essence, Berlusconi is the hero of Baroque - a large, eternal and only style in which Italy is being carried out, dies and is born.

This is the most personal film by Sorrentino, because he was born and grew up among the conviction of the very educated environment that Italy cannot and even no longer has the right to be a baroque country after the death of Fellini. And all that remains is excursions on the beautiful Italy of the past and the protection of the past from the present. Baroque in politics is especially dangerous.

If the famous “Great Beauty” was a film about infertility in Rome, then “They” - about an erection in modern Italy. The comedy and the drama of this gift and punishment. Expressing quite clearly - about the eternal riser, fruitfulness, which aims only to itself, that is, the expansion of the species. This is your beautiful Italy of the past. And this lustful satire in the premier chair is her life in the present. It so happened. If you do not like it, do not call this Italy beautiful and do not sing songs about it to the whole world. Do not defend Michelangelo, Bernini, Borrini, Farneze, Fellini from the present with Berlusconi. Well, yes, and with me - Sorrentino. So the title journalistic “they” turns into a confessional “I”. I am Berlusconi.

Presenting one or the other angle of the hero, Sorrentino, as always, moves forward without a goal. In the end, the final cycle of Michelangelo was named "Infinito". In the end, Berlusconi was expelled from somewhere and reigned again with a triumph. The finals never succeeded in Sorrentino. But this is the most finished statement. Because it has a finale. Sorrentino sends Berlusconi to the ruins destroyed by Aquille's earthquake, where he sees the fragment of the crucifixion of Christ from the church - the skeleton of the statue.

This could be mistaken for the next slurred edifying allegory, which so spoil the finals of his films, if I had not seen exactly this fragment of crucifixion in the museum opposite the Sienna Cathedral. I could not take my eyes off him, so it was hypnotically beautiful. Actually, this is the interpretation of the final of the film about Berlusconi: no final judgment on Berlusconi, fortunately, is impossible. It was just very funny and very beautiful.

The frowned modernity with its binary moral code in horror retains from the coffin of Berlusconi, unable to laugh or dig on the death of an unknown creature.

Chaos lover

Igor Poroshin - about Silvio Berlusconi, politics and businessman, who is not clear how to relate