1992-Episode Nine onwards and final review-Part THREE. In Italian with English subtitles. Minor Spoilers only. Was on in the UK on Sky Arts 1/ Sky Arts 1 HD (please see postings on 5th April and 18th May 2015 for reviews Part ONE and TWO respectively-1992 first previewed in Quick notes to my readers…26th March 2015)

1992

Episode nine onwards and final review

Episode Nine.

Oops I said I wasn’t doing episode notes.  However Leonardo Notte has two giant amber eggs on his coffee table.  One larger than the other.  Supreme.

Mr. Nobili is the name of Botelli’s neighbour and mentor.

Leonardo has the most beautiful Porches. Well I think it is.

It does help that 1992 is beautiful to look at and watch.

And the boot/ trunk is in the  front.  (of the Porches)

Leonardo reads from a book by Petrolli:
“There are people who don’t believe in anything but themselves,”
“They are born, this does not stop them from acting.”
“There other people who have ideals,”
“If by a series of illogical disappointment,”
“these people stop believing..”
“They discover the void..”

He stops-to rub something off his watch.
& continues:
“No longer considered as duties, but gratuitous acts..”
“but the exhilarating sensation that..”
“That all of this is nothing more than…”
“A game.”

***

Episode Ten

So episode nine and ten went all kinds and every kind of serious.  I had already ducked out once. When episode 10 got real sad.

(The Clean Hands/ Taglentopoli  Investigation)
Mancini is old school.
Manicini: to the rather handsome and dishevelled by now Di Pietro.
“I feel terrible about what happened, really I do..”

Viktoria is examining herself.  Puts her sunglasses on after checking her hair.  Extra cool sunglasses. As we know.

So these are episode notes that aren’t episode notes.

Here comes Leonard Notte and Bibi Mainghini in his Porsche.

Poster: Go Go-Italy!
A baby smiles on a giant poster in the town.  In front of a Gothic cathedral lit up with yellow lights.

I have no idea what the Advertisement signifies other than it must be one of Leonardo’s Ads.  And that his agency have now successfully and possibly innovatively: mixed advertising with politics.  it is a political Ad-somehow.  Well that is my theory.

Leonardo is smiling.  He had a call.  (phones got smaller throughout the series)  However Leonardo is never going to get that call.  The call we thought he might be going to get.  Aha.

Leonardo is still smiling as he looks at the Ad in the square.
Leonard to Bibi:
“Nineteen ninety three is going to be a good year!”

The End.

***

Review.  Part THREE.

So episode nine, the penultimate episode was where 1992 started to coalesce: come together.  It could be that some characters are colliding again.  Their story-(their) lives as previously described have bumped up against each other: or intersected.

Now-as I had hoped, the separate story lines met and become whole.  As in a whole biggger story.  A moving story now-moving towards the end.

Then by episode ten the drama and all the stories within it could be said to have picked up it’s metaphorical skirts with both hands and started running somewhat.  1992 was always going to keep its slow leisurely pace.  This gentle and studied style is the story’s style of story telling.

So the ending scene of 1992 seemed all very meaningful at the time.  Yet the whole meaning of the Advertisement and Leonardo Notte and Bibi Mainighini’s triumphant enjoyment of the Ad: was unclear.  To me anyway.

I am sure there were political even satirical meanings or undertone to the giant baby on the screen with caption: GO Italy!  But they were lost on me.

Something was lost perhaps not in translation but in the superficiality of detail.  We as viewers or I, needed more background and knowledge of the period.  The political scene, the clashes between political parties like The  Christian Democrats and the Northern League for example were unknown territory for me.

What exactly were the Advertising Agency doing? who were they working for?  Were they even an Ad agency any more since their apparent evolution into a crack and super stylish ideas squad? I know that they mysterious and Svengali like Morelli with his Samurai book was the crack squad’s boss.

Morelli was some kind of machinator extraordinaire.  I originally thought that the Ad and or PR/ Public Relations agency were working to promote Berlusconi.  But he, Berlusconi , was not their actual client.   Berlusconi was, we were told, a businessman.

I think the point was that business and politics were already mixed up with each other.  Hence the Taglentopoli/ Clean Hands investigation.  for the corruption, the bribes involved in those deals.

However my take on it was that the Leonardo side of the story was to show us when business met politics met supremo PR agency.  To sell that businessman to the public. In business commercial terms.  As being good for the county’s economy etc.  Then announce that trusted (now) businessman as the people’s new politician.
Or summat like that.

Is this getting boring now. It might be.  I feel I’ve done my duty now describing the dull side. I know I wasn’t that interested in the PR nor the politics.  So may well have not given those aspects my full attention.  I just accepted this part of the story as the usual political and or business shenanigans.  To be found in any decade. Even Mesolithic maybe.

There is a possibility that more explanation of Leonardo Notte’s job or even that of Di Pietro was irrelevant: that the drama was more interested in the character’s lives and their story within the whole. Me too.

**

PostScript.
1992 is beautifully shot.  In myriads of shades of beige, smoky blues, browns and an opalescent light.  There were beautiful classical and ancient buildings and modernist neo-classical architecture to behold.

There are fantastical corner shots of buildings seen high up in the sky-in crisp daylight. There were those cathedrals and parliaments: lit up by yellow light at night.

I was sometimes reminded of the Belgian series Salamander when watching these wonderful vistas of the cities/city.

There was a strange almost languorous feel to the style, pace and lighting inherent in 1992.  Watching its super smoothness as a drama,  the ineffable style, observing the oft milky white light: gave a soporific feel.  To the watching of 1992.  For me anyway.   The drama just glides by.

Would I have watched 1992 if is it wasn’t so silkily beautiful a creation to watch?  Probably.  In some ways it could be argued that the super smooth stylishness of the drama was distracting.  From the matters in hand. which may even account for my slight lack of attention throughout.  Not sure.

I know it T’was the politics that bored me.  But it was the six characters and their lives that held my attention.  For example, Veronika.  Ah, Veronika.  Veronika, Veronika,  Veronika.

I do realise that watching the drama on demand would have been so much better.  This was the only method that got rid of the Ads.

The truncated feeling of the interchanging stories and short scenes would have held together more and sooner if I had watched by this method from the beginning I believe.  As it was: I found this better way at episode nine.  Too bad.

****

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