Returns,
among illusions and indulgences

1. After that, in 2002, Italy abolished the exile of the members of "Casa Savoia" and after they have "returned" is not that - as indeed even before - their main representatives were distinguished by the nobility of their conduct and for the rectitude of their intentions. Vittorio Emanuele, relieved of the burden of "Prince of the Empire" and was left as "Prince of Naples," he lived at the limits of the law - as when one says that a few days in jail but he should have done more than a few introductory - under a different trade: other people's finances, weapons charges, a charge of murder, membership of the P2 Lodge, bribery, forgery, prostitution. Little mythical, in fact. His son, Emanuele Filiberto, aware that, if all the monarchy could also become the show, has been busy as a dancer, actor, entertainer, and through the Festival of Sanremo in 2010, as a singer, when, turning to the 'Italy, my love, "intoned the" memory "of" when I was a child, traveled with the imagination, I closed my eyes and imagined, to hold her in my arms "- that once held up by Pupo, reassuring, and exculpatory camaraderie, before the tenor Luca Canonici give us in with the rhetoric and more boorish trombone, replied that "you could not return while not having done anything, but who can be compared to those who have really suffered."

2. We were able to return to a number of "characters" really conspicuous. On the one rushed to the repertoire, he noted, Dr. X, the invisible man, Don Camillo, Don Richard, Frank James, Montecristo, Raffles, Joe Dakota, the Ewoks, the magnificent seven, the living dead, the three musketeers, the gladiator world's strongest, the murderous doll, the Adams family, the witches of Salem, the Incredible Hulk, the Jedi, Arsenio Lupin, Black Stallion, Brian, Butch Cassidy, Cagliostro, Casanova, Harry Collings, Jafar, Lassie, Marcellino, Martin Guerre, Mr. Hardy, Ringo and White Fang. All of them - imaginary or with a minimum of historicity - appear to be united by the fact that, first, they went somewhere and then be "returned". To each of them, in fact, was devoted to a film whose title is the phrase "the return of" followed by their name.

3.In The Return of the King - a title that is equal to the third volume of that Lord of the Rings, John Ronald Reuel Tolkien wrote between 1937 and 1949 -, Davide Bigalli detects and deals with clear ideas and expertise with a philological issue who has the extraordinary virtue of characterizing a sign with clear and unequivocal political and religious events. Juggling between the vicissitudes of the Grail, King Arthur, The England of Elizabeth Tudor and the various Henrys, Sebastian Portugal, Haile Selassie Ethiopia's and Bob Marley's Jamaica Bigalli records mechanisms of sacralization of power by analyzing the narrative modes that support the myth: charismatic leaders, kings, their descendants, real or alleged frauds of the first water that are raised, recur, appearances take more or less known and revered, however, fulfilling its role in the messianic people waiting for compensation history, and often - as soon as this function is exercised their processes and productivity - are settled, most physically and dramatically, since corpses.
The impostor said Bigalli searching out psychological and social phenomenon, "is not that the point emerging of a convergence of forces directed against the development of things, a situation in which his subjectivity is subject and, often, he ends with progressively identify with her character, "with an emotional involvement that leads the person to face even the prospect of death purchased reaffirming its identity." At stake, in fact, there is serious business: there is a desire for redemption of an entire population, there is a frustration accumulated over centuries of subordination, there is the collective hope of return - through the "back King's "lost, hidden, transplants, survived despite all evidence to the contrary - to a golden age that, as a safe investment of the ancient fathers, sooner or later have to touch the patient as a reward faith of their children.

4. That the "return" rather than the categorization of a trip segment, and an enhanced categorization - something that has more to do with a symbolic system with the planning of a route - it is curious indeed demonstrated by the case of The Dakota Joe's return. This is a film directed by Richard Bartlett in 1957 and starring Jock Mahoney and Luana Patten. The interesting - and significant - is that in the original language is not nearly so entitled, but, simply, Joe Dakota. The "return" was tacked on by the Italian distributors to give it an epic quality to it - an exit from the drama, the accumulation of an expected collective and its cathartic satisfaction - which, in her modesty, took care not to claim .

5. Remains a problem that Bigalli seems not to ask or take for granted. Due to the fact that, presumably, a story should be accepted or not according to the degree of its consistency - the story of each of us as the story of the deceased king who returns to lead his people - it is questionable - really - why all these tales are queer and tattered credit, too, sometimes more than we are not stories at all Mode (think to the fans of "creationist" who refuse to believe in the theory of evolution), and manages to move entire communities with all the little good that can result from these stir it. The thesis of the impostor who impersonates object of his imposture - up to believe what he knows not to be - can also be extended to the community that his services were needed strenuous. There is a moment in which all or most people know that they are lies, then there is a time when someone should not remember and it ends up there is not really remember a time when all or most non- know that this is more or bales, which is the same, if not ask for more bales or less it. But - we swear - there is always someone who still - that these bales - is well aware. But it is silent.

Felice Accame

Nota
Il ritorno del re The Return of the King is published by Bevivino publisher, Milano 2011. The reference to Tolkien, of course, is not accidental. In the appendix, in fact, Bigalli "hosts" a short essay by Igor City, entitled The spaces of the story: the victim and rescuer King in J. R. R. Tolkien and Frank Herbert and dedicated to the messianic expectations in romance.

translation Enrico Massetti: enricomassetti@msn.com