FIRST OFFICIAL IMAGES FROM THE HBO, RAI FICTION AND TIMVISION SERIES MY BRILLIANT FRIEND, DIRECTED BY SAVERIO COSTANZO, ARE RELEASED
Photos: Elisa Del Genio (Elena), Ludovica Nasti (Lila); Gaia Girace (Lila), Margherita Mazzucco (Elena) (Credit for both: Eduardo Castaldo).
Show Is Based On The First Book Of Elena Ferrante’s Bestselling Quadrilogy
The bestselling Italian novelist behind the highly acclaimed Neapolitan series writes a weekly column on life, love, the female experience and everything in between
Elena Ferrante is the author of The Days of Abandonment (Europa, 2005), Troubling Love (Europa, 2006), and The Lost Daughter (Europa 2008) and the four volumes of the Neapolitan Quartet (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of The Lost Child), published by Europa Editions between 2012 and 2015. She is also the author of a children’s picture book illustrated by Mara Cerri, The Beach at Night and a work of non-fiction, Frantumaglia: A Writer’s Journey.
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Show Is Based On The First Book Of Elena Ferrante’s Bestselling Quadrilogy
An HBO-RAI FICTION And TIMVISION Production;
Produced By Lorenzo Mieli And Mario Gianani For Wildside And
By Domenico Procacci For Fandango
In Co-Production With Umedia Production
With production underway in Caserta, Italy, the first official images from the HBO, RAI FICTION and TIMVISION series MY BRILLIANT FRIEND have been released. Based on Elena Ferrante’s bestselling book of the same name, which is the first of her four-part series published in the U.S. by Europa Editions, the eight-episode series is being directed by Saverio Costanzo (“Private,” “The Solitude of Prime Numbers,” “Hungry Hearts”).
Casting for the show took place over a period of eight months, with almost 9,000 children and 500 adults from all over Campania auditioning. The casting process included professional and non-professional actors, as well as students recruited from local schools. Newcomers Elisa Del Genio and Ludovica Nasti were chosen to portray the two lead roles of Elena and Lila as young children.
As production on the series progresses, these young actresses have given way to teenage actresses Margherita Mazzucco as Elena and Gaia Girace as Lila. In total, MY BRILLIANT FRIEND is expected to include a cast of more than 150 actors and 5,000 extras.
The production’s construction team of 150 crew members has created 215,000 square feet of sets, which were built over 100 days. To recreate the neighborhood, the symbolic location of the story, they built 14 exterior apartment buildings, five interior sets of apartments, a church and a tunnel. The costume department is gathering 1,500 costumes, many of which are original creations.
MY BRILLIANT FRIEND is an HBO, RAI FICTION and TIMVISION series, produced by Lorenzo Mieli and Mario Gianani for Wildside and by Domenico Procacci for Fandango in co-production with Umedia Production. All episodes will be directed by Saverio Costanzo. Story and screenplays by Elena Ferrante, Francesco Piccolo, Laura Paolucci and Saverio Costanzo. Jennifer Schuur is the executive producer. FremantleMedia International will act as the international distributor.
“If I read a book by a man, then the next one should be by a woman. That’s not exactly a chore. For example, I’m reading Elena Ferrante’s Neapolitan quartet, It’s an amazing work. I’m listening to her book on audio.”
Viet Thanh Nguyen won the 2016 Pulitzer Prize for his best-selling novel, “The Sympathizer,” the story of a Communist double agent who moves to the United States. Last year Nguyen, who emigrated with his family from Vietnam when he was four, published his first collection of short stories, “The Refugees.”
Fans of the writer’s Neapolitan novels are flocking to discover the south Italian city, whose personality is as important to the books as the protagonists
Sun 25 Feb 2018 07.00 GMT
Like many tourists in Naples, I have only ever been there en route to somewhere else. For years the city has had a reputation for being dirty, dangerous and traffic-choked: why on earth would anyone choose to linger? But this has changed. Naples is becoming a destination in its own right, thanks in part to the huge popularity of the enigmatic author Elena Ferrante. And with the city’s rubbish-collection problem solved and new traffic restrictions in the centre, it is looking in better shape than it has done for decades.
Ferrante, who writes under a pseudonym, is the most important literary sensation to have emerged from Italy in a generation. Her quartet of Neapolitan Novels has sold more than 5.5 million copies worldwide. The New York Times observed that enthusiasm for the novels is so intense that it is being described in “epidemiological terms, making the phenomenon sound almost like an infectious disease”. Nor is Ferrante fever likely to cool any time soon: an Italian/American television adaptation of the first book My Brilliant Friend is under way. Filming starts in Naples next spring. The ultimate aim is to adapt all four novels over 32 episodes.
I came late to the books, prompted to pick up the first volume by the outrage around Italian reporter Claudio Gatti’s controversial unmasking of Ferrante’s supposed true identity. Needless to say, I loved My Brilliant Friend and devoured the next three, gripped by Ferrante’s rich portrait of the hard lives and intense friendship of the two protagonists – Elena and Raffaella (who call each other Lenù and Lila) – who grow up in a poor, violent neighbourhood against a background of mafia vendettas and social and political unrest in the 1960s and 70s.
We stop at a traditional pastry shop like the one run by the Solara brothers for a coffee and a sfogliatella
Naples is as much a character in Ferrante’s writing as Lenù and Lila themselves. Her “dark streets full of dangers, unregulated traffic, broken pavements, giant puddles … clogged sewers” work their way deep into your imagination. So you finish the Neapolitan novels not only with a sigh of regret, but an insistent desire to get to know the city for yourself.
“People began asking hotels and tour operators in the area: ‘How can we find the locations in the novels?’” says Caterina dei Vivo of Progetto Museo, a Naples-based cultural heritage preservation group. “They wanted to see the stradone, the Vomero, the Rettifilo, the Corso Umberto.” Progetto Museo quickly launched a Ferrante tour of the city earlier this year and several others have jumped on board since then.
I decided to combine my tour with a few nights in Sorrento. A picturesque tumble of dark red villas and ochre hotels perched on the edge of the Bay of Naples, the town works as a base not only for visits to the city – about 50 minutes away by boat, or an hour by train – but for the Amalfi coastal path (the “pathway of the gods”), Campania’s hillside towns and the islands of Capri and Ischia, too. Pompeii and Heculaneum are an easy train ride away.
I was met off the boat from Sorrento by the impressively qualified Caterina, a Neapolitan with a PhD in the preservation of cultural heritage. Along with the two others in our group, I was keen to visit the working-class neighbourhood where Lenù and Lila grow up: the Rione Luzzatti in the south of the city. Frustratingly, Caterina won’t take us there. Now mainly social housing, it has a reputation for crime and is apparently “too sad and depressing” for us. Instead, we set off into the old city where our first stop was Corso Umberto, known locally as the Rettifilo. This is the main street connecting the rione [administrative district] with the city, where Lenù and Lila first start going out alone with friends – with disastrous consequences one night when the Solara brothers pick a vicious fight with some obnoxious private school boys. It is also home to the bridal shops visited by 16-year-old Lila as she prepared for her lavish wedding to Stefano Carracci. Every window is awash with frothy white lace and rainbow-coloured bridesmaids’ dresses.
Three sheets to the wind … a backstreet in Spaccanapoli. Photograph: Alamy
We turn left into the university district where Lenù found her first job in a bookshop and Nino, the love of her life, worked as a leftwing lecturer. As in the books, the lecture theatres are daubed with radical slogans – a “lotta dura” [a 60s political slogan, now more associated with football] here, a hammer and sickle there and students hand out revolutionary flyers to passersby. Next stop is Via dei Tribunale, where Lenù attended political meetings with her friends in the Red Brigades. We stop at a traditional pastry shop like the one run by the Solara brothers in the novels for a coffee and a sfogliatella, a shell-shaped pastry which originated in Naples, filled with vanilla, cinnamon and orange-flavoured ricotta.
The city centre feels wonderfully unmodernised, its dark, narrow streets dripping with faded laundry, lucky bunches of dried red chillies outside every house and shop front. Walls are buried beneath layers of posters, stickers, graffiti and grime. Scooters zoom past, horns blare and truck brakes hiss. I’m struck by the absence of chains, such as Starbucks and McDonald’s. Caterina says the multinationals know they cannot compete with the street food of Naples: fried pizza, potato croquettes, courgette flowers in batter, fried anchovies and fried mozzarella are sold on every corner in brown paper cones – cuoppo – for just a few euros apiece. Pungent Neapolitan coffee likewise.
Our critics chose 15 remarkable books by women that are shaping the way we read and write fiction in the 21st century.
By Dwight Garner, Parul Sehgal and Jennifer Szalai
March 5, 2018
In 2016, the feminist press Emily Books held a panel in Brooklyn titled, a bit cheekily, “What Is Women’s Writing?” There was no consensus, much laughter and a warm, rowdy vibe. Eileen Myles read from a memoir in progress and Ariana Reines read a poem, wearing a dress with a pattern of a city on fire. All of this felt exactly right.
But even if it puts your teeth on edge to see “women’s writing” cordoned off in quotes, you can’t deny the particular power of today’s women writers — their intensity of style and innovation. The books steering literature in new directions — to new forms, new concerns — almost invariably have a woman at the helm, an Elena Ferrante, a Rachel Cusk, a Zadie Smith.
For Women’s History Month, The Times’s staff book critics — Dwight Garner, Jennifer Szalai and myself, Parul Sehgal — sat down together to think about these writers who are opening new realms to us, whose books suggest and embody unexplored possibilities in form, feeling and knowledge.
As we put together a reading list, we introduced a few parameters, for sanity’s sake. We consigned ourselves to books written by women and published in the 21st century. And we limited our focus to fiction, but not without some grief. Memoir has emerged as a potent political and literary force in recent years (see the terrain-shifting work of Maggie Nelson, for example). And poets like Claudia Rankine, Solmaz Sharif and Tracy K. Smith are some of the most distinctive voices working today.
The books we selected are a diverse bunch. They are graphic novels, literary fiction and works inflected with horror and fantasy. They hail from Italy, Canada, Nigeria and South Korea. They are wildly experimental and staunchly realist.
Any list, especially one as idiosyncratic as ours, is bound to leave off some worthy contenders, like “Wolf Hall,” say, or “Gilead” or “A Visit From the Goon Squad” (to name just a few). This is not a comprehensive list, far from it. We hope it will be seen as a start — a way to single out these extraordinary books and the ability of fiction to challenge and reimagine the world. Some of the books we selected, like “Americanah,” bring a fresh slant to the novel’s natural concerns about character and fate and belonging. Others, like “How Should a Person Be?,” pluck new questions out of the air, in this instance about authorship and authenticity. They ransack classic stories (“American Innovations”) and invent genres out of whole cloth (“Her Body and Other Parties”).
Every one of these books features a woman at the center. She is brainy (Rachel Cusk’s “Outline” trilogy), grimy (“Homesick for Another World”), terrorized (“The Vegetarian”) and all of the above (the new mother in “Dept. of Speculation”). Each book’s utterly distinct style emerges as its women try to invent a language for their lives.
You could say these books are on the vanguard, but to suggest just one vanguard feels so insufficient. What makes these books so rich is their plenitude, the variety they contain and embody. “My story flows in more than one direction,” Adrienne Rich once wrote. “A delta springing from the riverbed/with its five fingers spread.” — Parul Sehgal
The Neapolitan Novels by Elena Ferrante
Elena Ferrante’s blockbuster novels, translated from the Italian by Ann Goldstein, follow the entwined lives of two childhood friends with an intensity and psychological acuity that put contemporary fiction on notice. The books are also social novels of remarkable and subtle power, offering a history of postwar Italy and the terrorism of the Camorra. But everything comes filtered through the personal lives of Lila Cerullo and Elena Greco, ordinary women who would never make it into the history books. Lila and Elena grew up in the slums of Naples, in a clinch so ardent and dangerous that to call it friendship feels hideously inadequate. The series carries us through 50 years, as the women rescue and betray each other, struggle to escape the slums and their mothers, and become mothers themselves. Ferrante captures the barely contained violence of domestic life and is taboo-shattering in her unsparing and relentless exploration of the secret lives of women — their ambivalence and shame. Like Lena, these books give off “an odor of wildness.” Their intelligence cuts into the skin. — Parul Sehgal