The insignia-centre-right dialogue was Viale Mazzini’s real conundrum. In the end, two programs came (2 “The Legacy” and “The Merchant at the Fair” and he became the “Government Artist”, a plastic representation of the most arrogant subdivision. But he doesn’t seem so offended by this goal. Practice
His name always came up sooner or later, in the haze of new Tolkienian opinion. Pino Insegno’s shadow was everywhere, in climaxes of hypotheses, situations, roles: a Sanremo, a “Domenica Inn”, “The Voice Senior”, a strip before the news like Marco Demilano, at least a New Year’s Eve in Matera instead of Amadeus. He also had mystical visits to the Palazzo Chigi. Pino Incegno-centre-right talks were Viale Mazzini’s real enigma (“Now it’s up to it, come on, come on”, an opinion the executive reportedly muttered). Finally, two programs came (“The Legacy” and “The Merchant at the Fair”, which he had already held in 2006). Now Pino Insegno is the “regime artist”, Giorgia’s friend, recommended by the government. Plastic representation of the most arrogant subdivision, but at the same time beaten symbol to confirm the superiority of the culture of the Left: we are good, others have Pino I teach “The Legacy”.
He lets it go. It interferes a bit. In fact, it looks like he’s not that sorry for this target practice, After all there has never been so much discussion about him. Even when they’re not angry with me because I’m right-wing, he says, they are angry with me because I’m from Lazio (the “right-lazio” combo always works, but he explains and doesn’t explain , even Sandro Curzi, say, he was a great Lazio). The fact is that it is not easy to understand why the right wing adores Pino Insegno so much (whereas it is easy to imagine why the left wing dislikes him so much). None of what he has done in his long career as a voice actor, comedian, showman, theater and film actor has had vaguely expendable material on a political level. He was “Boro Unleashed” in Vanzina’s “Finte Bionde”, frontman of “Premiata Ditta” in “Buona Domenica”, then lots of theatre, music in Sistina, light comedy, that nebula who stood two fingers above Bagaglino and a little down to Prose Theatre, with titles like “Old Hen Makes a Good Broadway”, then voice-overs were given a bit, by Will Smith, Jamie Foxx, Lenny Kravitz, Mel Gibson, Obelix and Aragorn, the character “Lord Viggo Mortensen in the “Of the Rings” trilogy.
Here the spark flared up with Giorgia, that unfortunate “The day of defeat will come, but this is not that day!”, with which Pino Insegno introduced her on stage in Piazza del Popolo, at a rally last year, the crowd was in delirium. Already about ten years earlier, when Rai headed the Zecchino d’Oro, the Pino Insegno was considered a symbol of Roman authority. This was the Rome of Franco Fiorito, Anagni’s “er Batman” too large of life to fit in a smartie, cruising along regionally in a smoked-glazed Cayenne in the snow-capped capital. money, while Alemanno ordered truckloads of snowmobiles and snowplows. Renata Polverini ended the electoral campaign with performances by Pino Insegno and Martufello. Then, with the fall of the junta, came the replacement of Rai Management. Pino Insegno left the scene. His plans were sound. But there was no place for him in Rai del PD. But no one was angry on the right.
No one tried to make housing development a martyr. Not even an interview on Republica. Of course, neither Zecchino d’Oro nor “Razzione a catena”, a format passed into the hands of Amadeus, who from there began his ascent to opinion, barricaded himself in public service apologies like programs Put. Fazio, Annunziata, Gremellini, all journalistic and of “high cultural profile” formats. Pino Insegno is liked more by the right wing than by anything else because he is not from the left (he defines himself as a “Christian Democrat, liberal, at most center-right”, here he immediately becomes a “fascist”, as Marazzo, the president of the Lazio region at the time, gave him all the reactions on one of his projects for a theater school in the suburbs: “I don’t talk to fascists”).
Thus, when he comes on stage in the Piazza del Popolo to give Giorgia the victory, it is as if he is not there as a testimonial to the right., But, just like when he dubbed Will Smith in Sanremo during Carlo Conti’s interview, Pino Insegno is present to play the “Voice of Aragorn”. This is a special effect projects Giorgia into her Tolkienian delusions, With that somewhat forced monologue that smacks of heroic victory and epic enterprise and only he can make it admirable. In short, Pino Insegno is to Giorgia Meloni what Al Bano is to Putin., This moment is good for him. And artists, as we know, are sensitive to flattery.