The post’s title appears misleading, but it’s not entirely off the mark. Director Paolo Sorrentino may not have set-out to reinterpret a Fellini masterpiece through his “La grande bellezza” [Eng. Title: The Great Beauty], but there are striking similarities between the two that won’t go unnoticed. Sorrentino’s vast and intricate mosaic – of Life, Rome, and her people, is perhaps the more melancholic of the two, partly due to the central character Jep Gambardella (Toni Servillo) being a magazine columnist in his mid sixties, and more mature than La Dolce Vita’s Marcello.
Jep, single, is part of the Roman elite; moving among the movers and shakers of the eternal city, and ageing rather reluctantly along with his circle of vain friends – male and female, sinners and cardinals. Wiser than them, he revels in mocking their little insecurities – wealth and privilege notwithstanding, and undeniably basks in their company – he needs them as a ego-fix as much as they rely on his wisdom. He parties through life with feigned enthusiasm, only too ready to admit the shallowness of it all. We learn through the course of the film, that the reason he hadn’t written a book since his critically acclaimed novel forty years earlier, was because he hadn’t found anything worthwhile to write about – something inspiring and of great beauty (hence the title). And when he eventually learns how to find it, he will also be ready to start writing again…
It is the second half of the film that sets it apart – the first half mainly shows him in his physical and social environment, it will shape into an emotional journey of discovery with metaphysical and philosophical overtones – of people he never knew existed, of feelings he’d never seen in others, and himself. The message is deep, but also accessible to average viewers – at least there is nothing cryptic or bizarre as you’d see in a Fellini work. But there are also meaningful references made in almost every scene, due to which one would want to revisit the film more than once.
The film’s technical aspects are a joy to behold, from the cinematography with its exquisite tracking camera, to the extravagant and eclectic music – so effective in places that they don’t need dialogues or virtuoso performances to explain what’s going on. But the performances are exceptional too, with a special mention for Carlo Verdone who displays a versatility I don’t remember seeing – he plays Jep’s close friend and colleague Romano, and Sabrina Ferilli in an understated role as Ramona, the daughter of one of Jep’s friends. Toni Servillo, a class act on any day and a Sorrentino regular, makes the character of Jep all his own. But if I choose to remember anything about the film years from now, it’ll likely be the haunting original music by Lele Marchitelli, and the long final tracking shot as the credits start rolling – the camera meanders through a stretch of the river Tiber, crossing under arched bridges and giving us a memorable view, of a Rome waking up to what promises to be another glorious summer’s day. Highly Recommended Viewing..!
Amazon 2-DVD Link [PAL] | Amazon Blu-ray Link
The Nudity: Sabrina Ferilli, Isabella Ferrari, Anita Kravos, Galatea Ranzi, Giulia Di Quilio, and Annaluisa Capasa
The film has brief scenes of nudity from the above actresses, but the most notable ones are from Anita Kravos (as a performance artist), Galatea Ranzi (as Jep’s friend Stefania), and Sabrina Ferilli performing a striptease, shown mostly in silhouette – for someone approaching fifty, she’s got a fine figure, me thinks.
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Compilation: Sabrina Ferilli, Isabella Ferrari, Anita Kravos, Galatea Ranzi, Giulia Di Quilio, and Annaluisa Capasa
Scene Guide:
- An art performance by Talia Concept (Anita Kravos) is watched by a cynical Jep – he’d been asked to write a review of her show for his magazine.
- Orietta (Isabella Ferrari) is someone Jep has a half-night stand with after a party – he leaves after sex (not shown), the moment he feels he shouldn’t be wasting time with a self-obsessed women like her.
- Fifty-something Stefania (Galatea Ranzi) – Jep’s friend and a TV personality with family and kids, takes a dip in the swimming pool. The guy at the end of the scene could be her partner’s secret lover.
- Jep bumps into an old friend running a strip bar, one of whose performers also happens to be his own daughter Ramona (Sabrina Ferilli) – the conversation centres on the fact that she’s over forty and should perhaps be doing something else – he asks Jep to sort her out and possibly find her a husband.
- Ramona is not interested in getting married in any case, she will however learn new things from Jep, and they’ll also end up together in bed. The following morning, both are glad that they didn’t have sex. Both admit to seeing the sea on the ceiling (a recurring motif in the film).
- During another party, an exhibitionist couple invite Jep for a special show, but he looses interest quickly. The woman is played by Giulia Di Quilio.
- Alisa (Annaluisa Capasa) – Jep recounts that special moment with his first love.
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It ‘s the favorite movie for the’ Oscar for best foreign film ?
It’s early days yet, but certainly Oscar-worthy, particularly the cinematography. 🙂
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Nominated for BAFTA – “Best Film not in the English Language”
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This film won the Golden Globe for best foreign film, can now win the ‘Oscar for best foreign film ?
One of the favourites definitely… nominations will be announced next week.
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And this film was nominated for an Oscar, now that you believe will win ?
Honestly, I want it to win..! 😀
But Academy Awards have too often been given away for political rather than creative reasons. I’d be more disappointed if it didn’t win the BAFTA, which in my opinion is much more objective.
I haven’t seen The Missing Picture and Omar, but while the other three are all excellent films, La Grande Bellezza definitely scores in terms of its universal appeal.
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Won BAFTA for best film not in the English language – Yay..! 🙂
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Oscar too – Yay..! 😀
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TR,
You already know when this film won the Golden Globe, he would win the Oscar for Foreign Language Film ?
I didn’t – but once it won BAFTA, I felt it had a good chance. 🙂
I think the Academy Awards panel got it right even for the main categories this time.
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