The fascinating and multifaceted world of rap the Capitoline we are told in a frank and direct one of the most vocal exponents of this scene, one of the rhymes in Rome we can say we were born and grew up: we are talking about Paolo Martinelli aka Chef Ragoo (how can we forget the part of zombies in
Zora the vampire, with Charles Verdone, directed by the Manetti Bros.). One who in his career has alternated between punk, rap and punk again.
The film thus takes the form of a "chat" with a rapper (or should we say the former rapper? Who knows) that tells us so sad, maybe raw, but with the smile of someone who has done this kind of passion for a reason of life, a scene unknown to most but that burns for years, proposing to the fore from time to time new names coming from the suburbs, or rather from the suburbs, a Rome to get to know to appreciate it. Accompanied by scores strictly rap with live clips from that embedded in the story, the director, Roman too, uses this engaging narrative voice to describe the evolution of this kind of niche evolution that affects not only music but also, and above all, language, style, and the whole universe of communication that is hidden behind a rhyming text written in dialect (language or should we say?) Roman. Attachment to the territory, mutual respect, desire to make their voices heard are just some of the reasons why an artist to rap and to do so in the way he does people like the Colle der Fomento, the Trceboys Chef Ragoo same. One described in the film is not Pistolini people sitting at a table to churn out album of the year, to sell millions of copies, or to conquer the crowds, is mostly people who come for a specific audience and conveys a message of vital importance to society in the form of creative rhymes in Roman language. Away with the end statement, what remains clear is the sole purpose and only wants to clearly express these children communicate. Communicate the discomfort you are experiencing, the feelings you are experiencing, the personal suffering and remedies to overcome evasive but sometimes the simple entertainment, "cazzeggiano.
Pistolini himself says: "through the eyes of one of his players tried to tell a secret Rome, street, almost Pasolini. I wanted to talk about a world Music out of the spotlight and the masses. " "In the era of X-Factor - he adds - that's from people who almost wanted to remain anonymous, shunned the easy success and used the Roman language as a tool, as a vehicle for social and political messages."
No hope, no fear Darallouche is produced by Film and thus tells three stories that are well interwoven in the interview / story of Paolo Martinelli: there is one that speaks of his hero, Chef Ragoo, its love for the rap scene and his chameleon-like artistic, another hip hop scene plunges us into the Capitoline and explains its evolution from nineties until today, describing his vices and his virtues through an internal point of view the same scene, and finally the third story focuses on Rome and the Roman world: the thousand ideas and insight from every corner of this city are its inspiration from the rappettari to tell it in rhyme, strictly Roman, alternating between vulgarity and poetry, "fierce and feather, love and hate.
Proud, of course, being of contemporary street poets.
