HBO of the United States premiered this Sunday (18) series "The Amiga Genial", an adaptation of the popular literary saga, breaking new barriers with filmagens in Italian. On HBO Brazil, the first episode will air on November 25 at 10 pm.
More than 10 million readers have been tempted by the novel by Italian writer Elena Ferrante – a nickname for writers whose identities are unknown – since the first book was released in 2011 about the intricate relationship of two girls who met in Naples in the 1950s and grew up together.
The broadcast rights to the eight episode series were obtained by 56 countries.
Even in the United States, where books are translated into English accounts for only 1 percent of the market, four "Neapolitan novels" such as those commonly known have commercial success with 2.6 million copies sold, according to European publisher Edition.
But then to produce, in partnership with RAI, a series of Italian television, filmed in Italy, by an Italian director, however, is a risk for HBO.
The dialogue is, in fact, in the Neapolitan dialect, and not in classical Italian, so even RAI will broadcast the series with subtitles. "This really affected me," director Saveiro Costanzo told The Hollywood Reporter.
So much attention to details of authenticity is relatively new in the United States.
In 2009, Quentin Tarantino pointed to that direction with "Inglourious Basterds", partly filmed in German and French. But the series world is reluctant to follow its path.
"The Americans" (2013-2018), the award-winning series on Russian spies in the United States during the Cold War, showed a long sequence in Russia.
Public appetite, global and delivered to streaming platforms, has turned more and more into text production, as a witness to the international success of the Danish series "Borgen".
The American series "Narcos", filmed in Spanish and originally broadcast on Netflix in 2015, "paved the way for others, suggesting that authenticity was important for the success of the series," explained Lorenzo Mieli, producer of adaptation "L & # 39; amica geniale & # 39; the original title of the Ferrante novel.
Once the language challenge is overcome, there is another step: how to ensure that the contents of the book do not reduce the transfer to television.
"From the first book Elena Ferrante, I felt that we shared the same ideas and the same rigor to pursue the truth of dramaturgy," Contanzo explained during a series presentation at the Venice Film Festival in September.
Francesco Piccolo, who wrote the screenplay along with Costanzo, commented that the author, initially "vigilante", gradually became more comfortable with adaptation after his exchange with the director.
"He gave advice, but never defended books, only more like a good idea of film transposition. He had great confidence in Saverio," he explained.
The result is true for novels, stories of friendship, admiration, competition and envy; almost documentary immersion in Naples in the 1950s, where Elena and Lima met in elementary school.
"This is really a different series from what we usually see on Italian television," Lorenzo Mieli said.
"We don't see people popping up everywhere, we focus more on complexity from the perspective of female characters," he explained, adding, "I think this can lead to new ways of telling stories."