Documente Academic
Documente Profesional
Documente Cultură
Students Name
Institution
the Hollywoods domination of the industry. It manages to explore the past, present and predict
the future artistically helping the directors address their national concerns and identities (Koven,
2013). Paolo Sorrentino, an Italian auteur, has had a track record in the film industry (Bayman,
2011). He had five films in a row, and each has continuous usage of stylistic devices that many
contemporary auteurs cannot match. The styles help in delivering the message in each movie
(Koven, 2013). As a director, he uses the styles distinctively that define his visual approach. He
uses the art to depict his perception about the world. Most of his work has got a large following
CONTEMPORARY EUROPEAN CINEMA 2
and criticism at the same time (Carta, 2014). Sorrentino stands out in the European market
despite the competition that the Italian films have to face following the Cannes politics.
The Great Beauty is not shocking that it has demonstrated to be Sorrentinos art-house
breakthrough. It illustrates not only the troubles of Sorrentinos technique and approach, but a
wrong-headed reaction to a larger disaster in late recent art films (Crowdus & Sorrentino, 2014).
It sounds like a rather grandiose critic of a single movie. It is told nearly specially from the point
of view of Jep Gambardella (Toni Servillo). An aging gadfly of Roman nightlife and one-time
relationship to it. It is a hypothetical movie, suggesting that the physical history and artistic
control of Rome are so overwhelming as to be paralyzing. Rather than being dreaded, the Roman
intelligentsia has become injured, almost incapable of meaningful creation. Inasmuch as Jep is an
erratic narrator, his paradoxical distance is presented as undesirable. It is not easy to conflate his
trivial glance at survival with that of The Great Beauty or Sorrentino (Glenzer, 2013). However,
both film and filmmaker wad Jep, maintaining his superior irony protected.
In this work The Great Beauty (2013), Sorrentino uses repetition while juicing each
shot so as to desist from conveying numbness to the viewer. Honestly speaking, it is a film built
like a fright attack, Sorrentino so evidently alarmed of his audience lapsing into dullness or
having a brief moment of reflection. Therefore, Toni Servillos Mafia bagman had his practices
cut and diced into frenzied-montages (Crowdus & Sorrentino, 2014). When he moves around
with his fancy car, it truly develops into a business car. The movie envisages Antonioni circa
The Passenger (1975) through the old cinema du look moves of Besson and Beineix. The
film currently got a great acclaim after its first release in New York.
Sorrentino makes good use of satire and grotesque which happens to be his modest gifts.
In The Great Beauty, he creates an inflatable white elephant. The film teems with splendor and
CONTEMPORARY EUROPEAN CINEMA 3
flourishes in the style of a third-rate phase magician endeavoring misdirection. The same is seen
in Sorrentinos One Man Up (2001) which circulates between two contemporary stories (Stubbs,
2014). Tony Pisapia (Servillo) is a prominent Wayne Newton-type sprawl singer whose calling is
characterized by a sex disgrace. Antonio Pisapia (Andrea Renzi) is one more famous man with a
shared name of which no remarks are made. They appear to be cosmically connected, however,
and their personal accounts of affliction shape a tidy contrapuntal black comedy. It is a core but
deflecting film. There is nothing here to show a five-time Cannes attendee. One Man Up is the
kind of filler film that Toronto utilizes to stuff the Contemporary World Cinema program
(Stubbs, 2014). The film helps festival-goers to pass the time. It is the exertion of a medium skill,
and it is well.
Sorrentinos Il Divo contains a blend of different styles. It circumvents the political
world and looks at Andreottis rule (Koven, 2013). It uses suspense on many occasions. Anxiety
anticipation and uncertainty creating an obscurity of the future (Marcus, 2010). There are many
unanswered issues like: how close was Andreotti to the influential Masonic lodge that arranged
to push Italy near a soft dictatorship in the early 1980s? Was the execution of magistrates meant
to cover up the connection between Andreotti's henchmen and the Mafia? Did Andreotti really
get together and kiss Mafia boss Tot Riina? Has Andreotti been toiling for the sake of the Italian
individuals and power. Politics facilitate the entire process and get to the core of the matter.
Andreotti acts as a significant object of study (Marcus, 2010). Characters that were cutting across
mystery, ambiguity, and contradiction are found in him. He is a person depicting high opposition
CONTEMPORARY EUROPEAN CINEMA 4
yet his decision affects the entire country (Cristiano, 2012). Sorrentino is attracted by self-
referential worlds that initially were football and music later became politics as popularized by
media. In the film, critics note the adoption of too firm an accusatory tone (Koven, 2013). He
depicts both the light and shadow life side of Andreotti. It makes it interesting by not
and Sorrentino naturally do adopt it for the films (Marcus, 2010). It is always a norm for the
composer to write a whole soundtrack, but it is a different case with Sorrentino. His films have
varying spectrum of emotions that cannot be interpreted by just one composer (Glenzer, 2013). It
adds directly to the emotional quality of the movie and covers up weak directing or
cinematography. Music is a universal language and gives an addition to the visual information. In
the film, there is use of slow motion especially at the arrival of Andreottis collaborators. There
was a need to calm down the images necessitating the use of slow motion. A funky rock as music
would have mocked the self-important characters, but the eerie sound of the mysterious sound
viewpoint in Andreotti's last speech. He says that one requires being evil in order to protect what
is good; these words are spoken by Andreotti to himself (Marcus, 2010). The style helps
characters in expressing their mental thoughts aloud but at times addresses other characters or
even the audience. Sorrentino uses the opportunity to give a personal feeling about Andreotti
the human senses: visual images, words, and music that highlight the desolation of the world. He
describes the occurrences vividly (Crowdus & Sorrentino, 2014). The film starts at the
CONTEMPORARY EUROPEAN CINEMA 5
Janiculum, where a tourist probably from Japan takes a picture. He is overwhelmed suddenly by
smoothly to a female choir singing church music in the Fountain of Acqua Paola that is nearby.
The beautiful scene comes to an end abruptly by emergence of the loud, very smashed, and
drunk party. Its primary objective was to stress the sense of emptiness to which many are
attracted. Parties are always the epitome of the void, beautiful but senseless. The music is
deafening, a direct contrast to the inspiring music from the choir. Jep is then introduced, enjoying
himself but rather with a smirk on the face. He says he did not just want to take part in the parties
shots being chopped by editing brought about by the beat of the music. There is use of virtuoso
official meanderings and variation of themes (Crowdus & Sorrentino, 2014). The director
employs the Fellinian principle of accumulation by addition of meanings at the expense of facts.
Insertion of new characters while leaving out the familiar ones poses dichotomies and
not just about Rome, but it encompasses it. It conveys the malaise of the country, the human
alienation from oneself and the others. The message is coined through art, friendship, love,
music, personal and collective memory. Death is presented as a monster that looks on, ready to
take out the humans. It leaves the immemorial beauty or ugliness of things.
Sorrentino manages to relate well to the characters he chooses in the play. Jep like
himself is an outsider. He is a Neapolitan and has inborn courteousness, flair, and a cynical
tongue (Marlow-Mann, 2011). He alternates between the informed Italian language and the
revealing his interlocutors status, the nature of his words and intentions. It is brought out by the
Fillipino housekeeper presiding over the beautiful apartment that overlooks the Coliseum. He
addresses her with affection "farabutta" meaning rascal, to this she giggles and responds in the
same manner. Jep's monolog has a significant impact literary and poetic quality. Translation of
her. Sorrentino uses the words providing meaning and order to the world that he perceives to be
chaotic and meaningless (Marlow-Mann, 2011). Briefly after the opening, the viewer is
introduced to an imaginary path of life. Jep indicates the restored literary inspiration by his
words at the end. It offers a remedy besides the weariness of the present.
The separation of the standard speech and vernacular gives multiple dichotomies
surrounding the film. One may try to analyze the juxtaposition of the contrasting images and
sounds. The technique emphasizes the good of the old while ridiculing all that is new (Hope,
2010). It is the continuity of opposites and openness together with its moral and esthetic
challenges that make it a powerful cinema. It also raises emotions and stimulates intellectually
cinematic experience. It does not give exact solutions or role models hence cannot be perceived
for change. Sorrentinos characters have bizarre peculiarities and are seen in The Great Beauty as
well. Not even a single character moves the viewers to compassion (Crowdus & Sorrentino,
2014). They are full of energy and manage to survive in cases of death and insensitivity. The film
is full of vitality in all occasions including sorrowful events and tragedies. Jep, Antonio, Tony
Pisapia, and many others feature in Sorrentinos cinema. Most of them share a common narrative
arc. Their life more often has disillusionments and defeats. They redeem their mediocrity
towards the end, either by moral epiphany or self-destruction. The exception is in Il Divo of 2008
CONTEMPORARY EUROPEAN CINEMA 7
where Andreottis redemption comes in the form of public oblivion and power loss (Cristiano,
2012). He was a powerful leader in the Italian political scene for more than forty years.
There is a subjective cinematic address in Sorrentino's films. The gaze is too erratic, and
the subjects not easily constrained by a sole perspective of a hero. It does not hinder other types
of interpellation (Hope, 2010). For instance, Jep's perspective helps a viewer in formulating
issues that encompass and exceed those of Jep about life, memory, and peoples position in the
world. The pervasive interpellation of the audience is remarkable due to directors challenge to
viewers identifying with characters (Marlow-Mann, 2011). The audience attaches himself or
herself to characters in order to gain access to their feelings and thoughts. Allegiance, at times,
also come in hand and entails emotional process. It depends on the moral values and individuals
traits as to whether they could be compatible with those of the spectator. It is thus deliberately
elicited by the filmmaker. The viewer may have an intense cognitive alignment brought by the
audio and visual alignment that may not be the case with allegiance. Jep may not receive a
spectators sympathy following his traits. He is a cynical and too world-weary, squanders his
talent not to divert viewers sympathy. The fracture does produce a destabilizing effect as is
presenting his narrative themes. He does not just show the alienation but replicates the same
alienation in the viewer. The city is an imaginary Rome vividly brought out as beautiful and
class and dejection of the civil society. The historical injustices are highlighted together with
physical features of the city. The various sites bring out a magical sagacity of conjecture.
It is a significant achievement as the unique combination of revered and profane stratified
symbolic meanings happens to be a favorite cinematic location. Jep takes the viewers to high-
esteemed palaces with wealthy people, and some of them lost their fortune, sold their names and
CONTEMPORARY EUROPEAN CINEMA 8
large companies in parties for a humble price. The film capture places that the audiences want to
see including the Palace of the Maltese Knights. It also gives a glimpse of the grandeurs of their
pictures her nude. The scene is one of the hilarious moments together with the Jeps interview
with the artist. It combines a quasi-slapstick humor with Jeps resentful invective against the
charlatans ploys passing for inventive and sophisticated art. There are other scenes that indicate
the filmmaker's interest in the contemporary art. The biggest autobiographic that Jep had ever
seen being one of the episodes: a man's face in a photo taken for fifty-five years daily. Jeps gaze
slams through the numerous portraits exhibited on the walls of Villa Giulia (Crowdus &
Sorrentino, 2014). It discloses the unalterable aging, budging moods, happiness, and sorrow of
the artist as a subject matter. The great calm infuses a magic touch on emotional rather than an
esthetic experience.
Another episode takes place in a luxury mansion during a party well attended by
dignitaries. During the occasion, a daughter of a rich guy hosting the party is compelled to
perform action-painting but fails because of freight. She is only twelve years old; tears roll down
her cheeks and splashes acrylic colors using both hands on a gigantic canvas (Marlow-Mann,
2011). The girl moans loudly and is covered with paint from head to toe. Jep leaves speechlessly
from the occasion. It is true in todays art as they are tuned to bloated personal egos that have left
out meaning. The discordant description of the art and beauty compels viewers to assert that the
vast beauty dwells in the ancient city and not in their contemporaries.
Sorrentino uses flashback largely in his work. Flashback gives visual information to the
audience that he or she cannot integrate into the script. It links time, place, and action disclosing
an idea about the character, or progress the narrative further. Jeps flashback goes to his
encounter with Elisa by the seaside. It invades his waking moments with the ceiling of his
CONTEMPORARY EUROPEAN CINEMA 9
bedroom morphing into a deep blue sea. It evokes an enchanting nostalgia. Jep is in a position to
dismiss his cynicism due to minor characters like Romano and Ramona (Crowdus & Sorrentino,
2014). When he was with Romano he marvels at a couple kissing and also when waking up
while Ramona slept in his bed, he says it was nice not making love. He is a cynic from the way
he behaves. He gradually comes to terms with the demise of his first love and brings out his
failure as a writer.
Jep is observed to look for enlightenment from envoys of the church just like many
people around the world do. The provision of his encounters multiplies the humorous and
hesitant tone that penetrates other sections of the film. The characterization of Cardinal Belluci
serves as an example (Small, 2011). The famous priest has a rumored past as he was a powerful
exorcist and refuses to answer any of the Jeps serious questions. It gives a picture of the
Teresa-like nun, is an intricate character. Her faith and charisma are authentic; attends dinner
parties, and this makes her a distressing and mysterious character (Wood, 2007). She opposes
silence to the noisy surrounding of Jep and says at some point that roots are important. Jeps
journey is seen to come full circle as his questions take him back to his origin and real self.
Sorrentinos work, The Great Beauty, has got a mixed critical reception in Italy. It ranges
from a lukewarm response to outright neglect. The probable cause is the sad national tradition
that started way back during the time of Roberto Rossellini (Holdaway, 2012). The foreign
critics, however, praise the movie as it depicts modern social dissolution. The choice of the title
alone leaves one wondering of what it implies. The films title has lately been cited as some
the sense of wonder. It cuts across the nature, sensations, and in sharing them. In todays society,
CONTEMPORARY EUROPEAN CINEMA 10
all the things are made opaque due to lack of collective memory (Small, 2011). There are
teachers who obscure the past and presently live without direction. It means that there is no call
for contemplation yet the film helps people understand the world around them and hasten to take
across Rome in solitary and finds an intact and silent city (Small, 2011). Death equalizes
everything, as before it came there was life hidden under the babbling and all noise. Thus, the
human life encompasses excitement and fear (Carta, 2014). There is no great beauty but just
pieces or fragments of it. The ironic and whimsical touch makes all characters alluring conflation
of surprises and nuances (Wood, 2007). Beauty seems to lie in both as only the inanimate things
by Sorrentinos great work and other great directors (Bayman, 2011). Sorrentino brings out his
vision of the world in his artistic work. He uses the platform to describe all that goes around the
world (Marcus, 2010). The political influence on people's lives is great and so addresses it in his
work "Il Divo." The dictatorial regime and effects are clearly illustrated (Cristiano, 2012).
During opening of the film, Andreotti offers an inner monolog demonstrating how he managed to
former Prime Minister Aldo Moro (Cristiano, 2012). The narrative of Andreotti, the seven-time
prime minister of Italy and associated himself with the Mafia. The tale covers the period of his
seventh election in 1992, his failed bid for the post of the Italian president and Tangentopoli
bribe scandal. It covered up to his trial in 1995 (Hope, 2010). Sorrentino uses this to criticize the
world dictators.
CONTEMPORARY EUROPEAN CINEMA 11
In conclusion, the cinema industry plays a vital role in educating, enlightening, creating
awareness and entertaining the society. The contemporary European cinema helps in reaching out
to many people and the directors use it to communicate their visions (Bayman, 2011). Sorrentino
makes good use of his talent in the film industry by educating the general public about the vices
of the society. He emphasizes the importance of relationships among people that may lead to
alienation (Holdaway, 2012). He teaches on good governance without which there are
consequences. He perceives nature to be in control of all that goes around in peoples lives. The
natural phenomena like death are not in any ones power to control. As a director, he uses the
styles distinctively that define his visual approach. He uses the art to depict his perception about
the world.
References
Bayman, L. (Ed.). (2011). Directory of World Cinema: Italy (Vol. 6). Intellect Books.
Carta, S. (2014). Italian Studies: Film Studies. The Year's Work in Modern Language Studies, 74,
266-272.
Cristiano, A. (2012). Silvio Soldinis Giorni e nuvole and Paolo Sorrentinos Il divo: The
Differing Styles and Chief Directions of the New Italian Cinema?. La Libellula, 4, 36-49.
Crowdus, G., & Sorrentino, P. (2014). In Search of The Great Beauty An Interview with Paolo
Sorrentino.
Glenzer, S. (2013, September). THE NARRATIVE AND COGNITIVE SEQUENCES OF
SPACES La grande bellezza by Paolo Sorrentino Carla Molinari Universit degli Studi
engagements with organized crime. Papers of the British School at Rome, 80, 353-354.
Hope, W. (2010). Italian film directors in the new millennium. Cambridge Scholars Publishing.
Koven, M. J. (2013). Perverse TiTillaTion: The exPloiTaTion Cinema of iTaly, sPain and franCe,
19601980, DANNY SHIPKA (2011). Journal of Italian Cinema & Media Studies, 1(2).
Marcus, M. (2010). The Ironist and the Auteur: Post-Realism in Paolo Sorrentinos Il divo. the
Small, P. (2011). No Way Out: Set Design in Mafia Films. Italian Studies, 66(1), 112-127.
Stubbs, J. (2014). The Biopic in Contemporary Film Culture. Historical Journal of Film, Radio