Lincredible life of the Golden Helmet it airs steelyard at 21.25 on Rai 3a documentary (Caterina Caselli – One life, one hundred lives) which, however, goes beyond the simple definition with which everyone knows the singer exploded in the 60s. But there is a lot of that dazzling period, there remains the case of a more sensational debut ever.
Key figure of the beat and author of immortal hits such as No one can judge me And Pardonthe former singer now a record company acts as a link and Cicerone in a trip-amarcord more than fifty years long. Among the many personalities of her, hence the title, which have made her a myth.
Caterina Caselli – One life, one hundred lives: the documentary
The film is a long monologue alternating with meetings in which Caterina rattles off anecdotes and testimoniesthe portrait of an artist who has gone through times and fashions, often anticipating them, in a courageous and often counter-current existential path.
Which focused on the strong and impossible to ignore passion for music, vocation of an entire existence. First as a revolutionary singer of the 60s, then as record entrepreneur and talent scoutwhich has also brought the Italy of song all over the world.
Here and there, friends and artists emerge, for example Francesco Guccini, Paolo Conte, Giorgio Moroder, and many archival images placed alongside the present. Of course, the songs shine, their genesis and their freshness. The symbol of the years of the Italian Beat generation.
A doc different from the others
Directed by Renato De Mariadirector of films such as Paz! And The obscene life, Caterina Caselli – One life, one hundred lives it is a classic documentary only in appearance. The structure is indeed that of the past-present alternation, but taking a step behind the control of the material, Renato lets Caselli guide us in the story. From poor childhood to glory, through confessions purged of too much nostalgia.
A scene from “Caterina Caselli – One life, one hundred lives”.
The mess is tenderness, and even more the fateful meeting with Ladislao Sugar – president of the CGD – who, after an audition, tells her the phrase that has become legendary: “Hearing her, it seemed to me that everything else was old“. Because the unicum of the young singer it was not only in the voice but also in the bursting force of a bodyand a look that had never been seen in Italy before.
Catherine therefore enters a sort of very personal time machinetelling his story and that at the same time of Italian culture and music.
Caterina yesterday and today
The ’60s flow between memorable hits, musicians and concerts triumphals around Italy. The decision of abandon your career and being a full-time mother comes after the wedding with Piero Sugar in 1970 and the birth of his son Filippo. She does not want conflicts of interest, but to push her to a different role there is also the rapid disaffection of the public, who with the change of sensitivity in favor of authorial music struggles to place Caterina in the new landscapedespite his commitment to make people forget the Golden Helmet.
It is the beginning of a second life: that of discoverer of talents such as Elisa, Andrea Bocelli and, recently, Raphael Gualazzi e Madame.
Also recalling painful memorieslike the death of friends like Luigi Tenco and Ennio Morriconethe documentary escapes the traps of institutional hagiography and it becomes a perfect mix of those hundred lives that, still today, interact together. And that made Caterina a unique woman and unrepeatable.
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