MISS Italia must not diethe new documentary directed by the duo Pietro Daviddi and David Gallerano (Zeman – I do not exclude the return) Available today on Netflix, starts from the deep crisis of the most famous beauty contest To arrive at an analysis – although sweetened – of Italian society and the value attributed to the female body in a world in continuous transformation.
Miss Italy must not dieplot of the Netflix documentary
Everything is known about Miss Italy. Was born in 1946, in a post -war country everything to be reconstructedeager to return to life. He kicks off a small advertising competition that rewards the most beautiful smile. His completed and long -lived transformation, over the years, into a very popular aesthetic show, He contributed to defining the canon of Italian beauty in the world, to discover many generations of actresses and launch several television conductors.
The promoter and the nerve center of the event, the patron Enzo Mirigliani, He did a job first, then a mission. After his disappearance, in 2011, Management has passed In the hands of his daughter Patrizia, For some time his valid collaborator. The documentary sets memories of a sumptuous past In a story to this melancholy and decidedly less glamorousin which the competition is threatened to disappear, like an entertainment animal.
Patrizia Mirigliani among the Miss in the documentary “Miss Italy must not die” (Netflix)
What Patrizia Mirigliani of Miss Italy says
The sunset of the eventaccording to the thesis of the two directors, It is due to a concomitance of causes. The first It is the difficulty of positioning the competition in the era of inclusion, deHowever, body acceptance of the body, without measures and control of weight. The second, not less important, It is the decision by the Rai company since 2012 to no longer transmit Miss Italy.
A choice that inevitably connects both to the disappointing listenings of recent years and to the spirit of time. To that politically correct that preaches theoretical equality but in fact it is unable to trace and resolve the problematic knots of the matter. A ferocious choice towards a broadcast which, between 2000 and 2008, had 4 evenings available, such as Sanremo. Whose record ratings were equal to those reached during the finals of the World Cup.
The documentary also tells The bitterness of Patrizia Mirigliani, who still lives the sunset of Miss Italy as an affront to itself and the father. In its version of the facts, much of the responsibility is of some “radical chic” political representatives such as Laura Boldrini. The former President of the Chamber in 2013 had not hidden his satisfaction with the end of the broadcast, declaring it a modern and civil choice.
The unhappy and obliged move from public TV to La 7 He did not take good to Miss Italy. Thus, left to his destiny, From 2018 The final is broadcast in streaming, disappearing from news and newspapers.
Miss Italy must not diethe review
Miss Italy must not die It is not interesting for the possibility of a different destiny, expressed by the title, for the transmission. As for the representation, even if scattered and not very cohesive, of the colorful wheelchair around the competition: characters and collaborators that for over 40 years they have lavished to find and prepare girls on airing.
Are the stories of regional agents Forced to avoid comments on ears in the waiver and large seders and who try to aim – without too much conviction – on the personality of the Miss rather than on their beauty. C‘It’s the Sicilian Salvo, who in the seventies worked as a living mannequin in clothing stores, capable of defining perfectly and without rhetoric woke What beauty is. “What is beauty? When you enter a restaurant and everyone turns over ».
There are evenings in the provincial squaresbetween soubrette and sad hippodrome where future competitors must quickly parade between horses’ races. There are the unfortunate attempts to live this time with ballets On Tik Tok, to use a hashtag to define each competitor. And then there is the negative judgment regarding the participation of the trans in the competition: A slip by Patrizia Mirigliani who, like a boomerang, earned her fierce criticism.
Patrizia Mirigliani with her son Nicola in the documentary “Miss Italy must not die” (Netflix)
The criticisms and hope of the Meloni government
The video camera chases Aurora, an aspiring Miss in the province of Rome with a male appearance, more comfortable with the suit than with heel 12: a girl who wants to try something different from himself And that – fortunately – does not shout at the microphone of wanting peace in the world.
And then she, Patrizia Mirigliani. A beloved father as cumbersomewith which everyone makes inevitable and unhappy comparisons. A breast cancer To which he survived (also) by throwing himself headlong into his creature, Miss Italy. A son, Nicola, con a ten -year dependence on cocaine that she tried to protect with an extreme gesture, denouncing it by extortion.
The general disinterest and vulgar comments on social networks during the streaming finals, certainly more offensive and anti -feminists of a swimsuit and of A crown from Missunderline the inevitable decline of the competition. But, In order not to die, Miss Italy has to take or leave.
Marry the Gattopardian affirmation “if we want everything to remain as it is, everything must change”. And do not abandon hope (so far disregarded) than with the new government all God, homeland and family, The competition may return to Raireturn home. For the moment, Miss Italy does not end there.
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