So far, anyone and everyone who has reviewed this The Great Beauty, or La Grande Bellezza
in its native Italian tongue, has one descriptive in common - and that
descriptive is highlighted by everyone's favourite F-word. And by
everyone's favourite F-word, I of course mean Felliniesque. From the
first deliciously giddy moments to the grand morality tale finale, Paolo
Sorrentino's latest film is possibly more akin to a Fellini film than
any film since Fellini himself was making movies. Hell, this film is so
Felliniesque, it may be even more like a Fellini film than many of
Fellini's own films. Okay, perhaps that is just hyperbole, but
seriously, this film is quite the spectacle to behold, and the blatant
influence of Sorrentino's late great countryman, has to be the major
reason why. But none of this obvious influence, or over-use of that
aforementioned F-word, should take away from the post-modern
sensibilities and stunning film work brought forth by this post-realist,
post-Fellini auteur.
Tackling many of the same concerns that Fellini (there he is again) played with in his masterful La Dolce Vita,
Sorrentino takes a look at Jep Gambardella, an aging writer, and
popular partier-cum-Roman pseudo-celebrity, upon his 65th birthday, as
he tries to figure out what has happened to, and what will now happen to
his life. The juicy, contemplative role of Jep, Sorrentino's modern
channeling of Marcello Mastroianni's Marcello Rubini in (here he is
again) Fellini's La Dolce Vita, is played with plenty of aplomb by 54 year old actor Toni Servillo, most notably seen in Matteo Garrone's brilliant Gomorrah, and Sorrentino's own Il Divo.
His performance is a centerpiece looking all around him at the titular
great beauty, or grande bellezza, that is Roma, the Eternal City.
Acting, much in the way Mastroianni did in La Dolce Vita, as a
visual narrator of the sometimes decadent, sometimes mournful world of
Roman society, Servillo's Jep is the proverbial lost soul in search of
meaning in an otherwise unfulfilled life of constant parties and drink
and women. A one time promising novelist, now relegated to writing
cheap articles on Roman high society and its esoteric art world, Jep
looks back on a life possibly wasted, longing for true companionship
while simultaneously running from it, and yearning for his lost first
love. It is as stunning a performance as the film itself is a stunning
work of art.
Sorrentino's film, as Felliniesque as it
wants to be (I keep going back to that F-word, don't I?), is essentially
the story of a human tragedy, but not the kind usually associated with
the genre of tragedy. For all intents and purposes, Jep is a successful
person, a celebrated member of Rome's upper crust society, but inside
he is lost and lonely and unsure of his true place in the world. He is
part of a faux society, trapped inside a spiraling circle that leads
deeper and deeper into despair and hopelessness, with no idea of how to
escape this outwardly happy, inwardly depressing lifestyle. Servillo
gives this multifaceted character the most bravura of performances (his
chutzpah is off the so-called charts), and this performance is integral
in making the film work, but it is Sorrentino giving his all as
director, that lifts this tragedy to near epic proportions. With a
swirling camera that takes in the great tragic beauty that is his
Eternal City, a camera-eye that wraps itself up down around and through
the heart of Rome's society, Sorrentino engulfs us with a visually
Felliniesque (yep, that word again) brouhaha, showcasing both the city
itself and Servillo's wayward Jep, and it all comes out so beautifully,
it almost hurts. Easily one of the best films of the year (and the
probable winner of the Best Foreign Language Oscar), F-word laced or
not, this old school cinephile was quite surprised as to not have the
film end with a shot of Servillo turning away from the camera and
walking down the beach. La Dolce Vita, indeed.
This review can also be read over at my main blog, All Things Kevyn.
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I love this movie. The sound track is superb and effective at creating mood. In the opening scene, there is a chorus performing. The Great Beauty has a touch of the musical.
While The Great Beauty appears to be about attitude and appearances I believe it is about hope and transformation for the artist and the liberation of the individual. The self, willing to face the journey alone, transcends all.
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