The Spanish TV serial La casa de papel (The Paper House), now at its third sequel, is a smashing hit well beyond the Spanish border. It's all about a milestone Central Bank robbery: a team of drilled men manages to break into the bank's vault, then sets in motion the rotary presses and goes into raptures while printing hundreds of million euros and dancing and singing Bella Ciao, as if it were a revival of the WWII's partisan deeds, sort of an updated class struggle against the new tyrant: the International Banking Circles.  

The red flag will triumph! The old communist song revisited

The serial reaped an easy as well as predictable success, since the viewers empathize with those brave guys attacking the mint rather than an arsenal -as done in the old times- in a tacit equivalence euro = weapons.

The subject is by no means new [SEE], fostering the forbidden dream of the majority, forced to work hard to earn those pieces of paper, so easily printed. The bright idea has been the parallel of this paramount feat and the one fought by the partisans against the nazis, conjuring up leftist feelings meantime buried by the neo-liberal policy of the ex communists: Bella Ciao still strikes the chords of past fighters, now well over eighty, but their feelings are meant to be passed on to sons and nephews.

Younger Goerge Clooney, Julia Roberts, Brad Pitt striving hard to access the vault of a far rich Las Vegas gambling house owner

On the other hand, this story conveys a message of aid to the soverreign sentiments presently spreading all over the Western world, despite its dealing here with a private robbery; still, its suggested extension to a State siding with the people rather than against it -such as it's viewed today- grips the collective imagination, upgrading the robbers to the role of White Knights. I tried myself, since 2012, when we were on the edge of the abyss, to find somebody willing to make a movie out of my screenplay, tackling the sweeping power of finance at the expense of real economy and narrating the consequent rebellion of a professor of Monetary Economy, who decides to quit teaching a misleading doctrine and explaining to his students how the monetary and banking system really works. Hence, he has to face the obvious retaliations from his dean and the court, all sided with the maintenance of the existing order, even if infringing the law (as I will report in a forthcoming article).

The reasons behind the success of the Spanish movie scriptwriter must be credited firstly to his ability to get the funds and then to catch the audience's favor, but most of all to the quixotic aura of the whole enterprise, unviable in real life, yet appeasing the libertarian fancies dwelling in most of us: fancies duly exploited by the producer to make this movie a blockbuster.

Poles apart: El Che, hero of the self-made justice; the scales of unjustice; the Court claiming that All are equal before the law

Even more, matching today's heroes and yesterday's partisans cunningly catches whoever still miss the bygone left, which resurfaces in the film, as a never ending winner. Those guys are like reborn Che Guevaras and supporters of Cuba Libre, fighters of a lay Salvation Army coping with the banking Moloch. 

My own hero, instead, is a single man, engaged in a solo fight to make the right win against the

brute force that makes, alters and interprets laws and constitutions to turn them to its own profit.

Actually, it's quite frustrating to see the judges enforce meticulously the laws with the man-in-the-street, forgetting about the constitutional principles, and at the same time exalting the same constitution when it backs the upper crust. 

Reverting to the main theme, the flood of money flowing out of the presses delivers an additional message:

it's just paper, beauty 

money is not a rare, precious matter, it's just paper, becoming valuable only because of its being accepted by the banks and the IRS, hence by the people. A plain matter of fact, denying the story tell of the advocates of austerity, who grudge the money to boost its price (i. e. the interest) the less of it they make available. Their game goes even farther, in that they alternate periods of boom and bust, in order to sack the nations' public and private wealth at sell off prices. Remember when the sack of Italy started? Do Britannia yacht, year 1992, tell you something?

Marco Giacinto