Immediately striking in this film, like in
the delightfully odd yet undervalued This
Must Be The Place, is the relationship between unconventional camera activity,
and unique auditory accompaniments. Sorrentino wants his style to be on show in
every scene. The opening sequence is incredible. With a backing gospel-chorus DP
Luca Bigazzi’s camera floats across fountains as if it is dancing on the water’s
surface and over the spires of churches and iconic monuments. No cut is where
we expect. We witness an incident involving one of a busload of tourists before
we are taken to a pumping rooftop party and introduced to Jep Gambardella (Toni
Servillo, Il Divo), a charming and distinguished
elitist and socialite who has been living comfortably on the wealth and glory
of his legendary first novel from decades earlier.
Now a social commentator and critic, Jep
intermittently writes cultural columns, hosts lavish parties at his apartment
(which overlooks the Coliseum) and is firmly embedded in the city’s elite
literary circles. He knows everyone and everyone knows him. He is acutely
observant, and in intelligence, appearance and poise he is intimidating and demands
attention. After celebrating his 65th birthday, he learns some news
about his first (and only?) love, which prompts him to reminisce on his life,
and reconsider his hedonistic, decadent lifestyle in search of richer
fulfillment in the absurd and the exquisite of the everyday. He comes to
realize why he has never been able to write another novel, as he laments on just
how empty his existence really is. He has put stock in his evaluation and
appreciation of art; pieces constructed by his contemporaries, and the rich history
of the city, but does that come close to filling the voids – squandered
potential, no family or legacy – that he is has begun to mourn?
There is a sense of the unexpected throughout every frame of this film. It is the kind of film where anything can happen. I didn’t want to leave the cinema during the extraordinary final credit sequences because I sensed Sorrentino still had something to reveal. There are instances where a giraffe disappears and a flock of flamingoes migrate to Jep’s porch for example. It’s odd.
There is a sense of the unexpected throughout every frame of this film. It is the kind of film where anything can happen. I didn’t want to leave the cinema during the extraordinary final credit sequences because I sensed Sorrentino still had something to reveal. There are instances where a giraffe disappears and a flock of flamingoes migrate to Jep’s porch for example. It’s odd.
The most profound human relationship in the
film unexpectedly comes through Jep’s companionship with a stripper named
Ramona (Sabrina Ferilli), whom he invites along to his parties and even
privileges her to a dead-of-night tour through Rome’s most beautiful galleries.
He has a friend with a key to these off-limits wonders. Blessed with such
access we question what Jep finds so unfulfilling. Well, having spent his life
discussing the trivial worth of others’ work with fellow intellectuals, yet
failing to create personally, Jep’s sense of having earned his superiority is
slipping away.
His world is beginning to change. One of
his oldest friends is about to leave town, he is reminded of a long-lost love,
of whom he learns has never stopped loving him, and he surprises himself by
crying at a funeral, something he declares completely improper. While there is
an emotional power to this film, it is buried beneath the sheen of Sorrentino’s
sensory buffet, yet creeps through unexpectedly.
This is my second introduction to
Sorrentino (the other being This Must Be
The Place, which I adored) and I recognize similarities between the two
films in that he is studying strange individuals who are all-but ‘has beens’
but whose influence from their former glory is still prevalent. They take a
very personal journey of enlightenment, troubled by something that daily
decadence cannot heal.
A lot of this film has stayed with me, and
Jep is undeniably a fascinating individual – a man who can afford to simply
exist day-to-day, because he is at the top of Rome’s social life and a source
of news, and yet he has lost sight of what he truly cares about. Is anything in
his life really worth living for? What does it mean? He claims at one point
that one of his most admired writers tried and failed to write a novel about
nothing, and he dismisses his own chances as futile.
I admit, Sorrentino began to lose me in the
second half, introducing some very weird spiritual elements that tested my
patience. There are unclear conclusions to episodes and the montage-style is so
scattershot you can blink and miss something. The party sequences are visually
splendid but could have been trimmed. This is undeniably an indulgent film, a
repercussion to the enormous ambition of creating a film of national (and
historical) significance, and while the film is layered with many ideas to long
ponder it takes on the pretensions of its protagonist a little too much.
Sorrentino
defies many cinematic conventions with this fascinating film, an ode to great
Italian filmmakers of old, and a musing on how artistic inspiration can be
influenced by life itself. It is an elusive study of a hedonistic elitist
numbed by a life of decadence, but through a uniquely Italian lens. The
glorious photography and haunting sound design leave an impression, Servillo is
wonderful, and simply being a part of his private world, and his late search
for ‘The Great Beauty’ makes for an engrossing experience. It is a challenging
one for sure, and I can offer no advice on how to dive in - other than to do it
- but an exhilarating one.
My Rating: ★★★★
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