Viva Zapatero!

Viva Zapatero! is a film of the type Docu fiction carried out by Sabina Guzzanti, left in 2005; it is based on actual facts lived by the director, facts narrowly connected to the situation of the media in Italy.

The director applies to it, for the Italian political context, the punch of the committed Documentary film which made the success of Michael Moore.

The film starts by showing Sabina Guzzanti in the various characters whom she interprets, of which the caricature where she appears grimée in Silvio Berlusconi, the president of the Italian council. She interprets other personalities in sight, of which a Neapolitan political woman reached strabism.

Thesis of the documentary one

On the basis of the situation of cancellation without notice of its Satirical emission , it draws up the portrait of the state of the Italian democracy after ten years under the influence of the character of the Cavaliere. Its documentary indeed widens the field to call on the personalities of the media which were muzzled by the takeover on the media, associated with threats with attack in justice with requests with repairs accumulated by lawyers with Mediaset.

The collusion related to the Conflit of interests is evoked by the interview of several personalities of the Italian media which were found attacked in justice for their critical interventions of journalism with respect to the capacity, threats of emanating lawsuit all at the same time Mediaset, Fininvest and legal representatives of Silvio Berlusconi, required repairs adding up of the amazing sums. Of these intimidations, only the heavy truck of the Anglo-Saxon press The Economist, whose film shows a representative, can assume without deterioration the freedom of tone of its articles concerning the Italian policy when the journalists are subjected to such a prospect on the legal level.

In the introduction, Sabina Guzzanti is presented in its trade like a Bouffon, with the noble direction and Rabelais IEN of the joke, and not like a journalist. However the capacity attacked it by the screens interposed of its dispensaries (directions of the public chains of media, investment companies of the financial apparatus, press articles sympathizers) on the fact that its emission of journalism made denouncement of the political personalities.

Vis-a-vis the " language of bois" used in interviews of political officials, realized in Cinema direct in streets of Rome and that it apostrophizes in order to know for which reason its emission was déprogrammée, it questions reasons for which freedom of expression, constitutional law expressed in the legal texts of the countries and even universal, reinforced by the European device, have such obstacles and such problems in Italy.

The way in which the municipal officials, presented like dignitaries of mode, refuse to discuss the satirical character of its emission, to disparage it by comparing it to an emission of public denouncement of the image of the politicians, is shown to the point in its assuaging hypocrisy; one of the interviewed politicians proposes to him to take council near his/her own father, former senator, in a remark moved with the buckled paternalist accents of machism (i.e. implying that it is not responsible for its dires).

This situation leads it to define what is a satirical emission, and which is its relationship to the capacity, other than the context of the Italian policy. The concept of satire is evoked during a discussion of the director with the actor and Nobel Prize of Literature Dario Fo.

Sabina Guzzanti takes example on other European countries; it shows then images of the sketches Guignols of information in France, which are caught some hard with the image of president Chirac, it evokes the freedom of tone in the United Kingdom with a sketch squeaking on a British general interviewed the day before the invasion of Iraq in connection with the strategy of the British troops, brought to recognize that the military plans were establish by the American command without another form of dialog, and milked freedom of expression in the Netherlands where an emission chips the image of the queen of Holland.

Impossible kind of emission in the Italian context. For which reason?

Developing the parallels, interviews of Bruno Gaccio, scenario writer of the Puppets, and Karl Zero in connection with its transition which led it to launch the emission the True Newspaper on Canal+ are shown: the satirical emissions on television are those which receive the highest TV rating; if their prohibition takes place in a democracy, it is not the emission which is to be called into question, but the good performance of the democracy , lights Bruno Gaccio.

Phagocytée media criticism

The beginning of documentary gives extracts of the current television programs in the Italian media landscape, showing how the new capacity congédié the journalists headlights of this third capacity which the media constitute, to replace them by speakers promoted by Népotisme who - selected pieces - do not pose any more that questions of kindness about the foreign politics in Italy, stick to receipts of kitchen at the hours for great listening, or are devoted to analyzes on the miraculous phenomena of Béata S larmoyantes, instead of an emission of interior policy.

A speaker, in film, of French nationality seems it, but expressing itself in Italian, explains that a Sunday emission all with the glory of the president of the council, itself being put in scene in the emission and flagornant in public, does not have a comparison on PAF because it would be inconceivable except context.

Critical of the political situation

The film shows that the accumulation of the political power, media and economic between the hands of only one man was not done without kindnesses of all kinds, and is also caught some with the Italian parties of left which let this situation take foot whereas they were with the businesses.

A polemical speech on the national representation of, of the party OS (center left) is placed in the second part of the documentary one; this last fustigates there protections from which Berlusconi profited during the years preceding her accession with the capacity. The director specifies that such an intervention was not relayed in the media.

References to the Italian Fascism of the Twenties

A scene retransmise of an emission of public debate in the end of documentary evokes the possibility of comparing the methods of the coalition of right-hand side with the capacity with the spectrum of the Italian Fascisme of the the Twenties; concretely, the question put during the debate is: under the current conditions, is there always the right to compare Berlusconi and Mussolini in a public debate?

This scene evokes for the director the reading from day to day large titles of the newspapers of the Italian written press; replongeant itself there, it is possible to see evolving/moving in the same newspapers the speech fascisant through the articles and of the progression in time, until the advent with the capacity of the mode, titrated with the one in great police force under accents triumphalist persons won over to the cause.

Sabina Guzzanti thus draws up a parallel disturbing coming from its personal vision, supported by the various personalities which before it were isolated of the media sphere.

A popular hope

The last part of film slices with the climate of disillusioned criticism that the various interviews installed. The caesura between the capacity médiatico-policy whose filled up portrait of supported cynicism was given, as well as the aspirations of the population towards emissions of transparency and integrity is returned by the images of the show RAIot , which, prohibited retransmission by the antenna, continued in live in the village halls of the country, causing an audience until filling the avenues around come to attend the political caricatures of the artist on a giant screen in outside. The tone of documentary is thus resolutely engaged and finishes on a note of hope passably tying, showing by there that in spite of the oppressive methods of powerful the population always seeks the expression of the freethinking, conveyed by other forms.

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