It starts by firing a cannon, then the missile flies with a vengeance and it's hard to imagine for this story better start. Plot promises because the story of an aging journalist wandering around Rome in search of excitement and emotion - maybe something like "Things about my sad whores" Gabriel Garcia Marquez. Before anyone has time to think about whether they want to nostalgia, lyrical mood and existential reflections, Paolo Sorrentino keeps him on the hook and pull through the first, surprisingly dynamic and incredibly dense sequence. In itself it is a closed work that could be shown as a separate card short of Rome. Treading tourists and Romans, hear sacred music, which emphasizes only what is visible to the naked eye - if the city built man, it has been done
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a time when he was more perfect creature and had better contact with higher beings. The camera floats, turns pirouettes, eventually moves to a wild
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party, drowning in alcohol, cocaine and sea rozdygotanych bodies. Odmóżdżająca, monotonous music leaves no doubt that we came from heaven to hell. Otherwise it would be difficult to explain why everyone is so well here having fun. Toni Servillo Ugly, transient people on the background of the beautiful, eternal city - this statement will come back time and time again. The language of this story is based on the contrast between exaggerated ugliness and the title "The Great beauty" unsuccessfully sought by the main character. Not without reason after the premiere of the
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critics compares it with the character played by Marcello Mastroianni in "Sweet Life" - a journalist bratającym up with the stars, well-promising writer who lost in the rush of life. Would today be somewhat older than celebrating the 65th birthday just Jep Gambardelli, who wakes up at noon just to the collapse in coffee nap. Afternoon kinda makes his interviews, during which humiliates the young, pretentious artists and decent Romans when they went to bed, he goes on another drunken orgy to shine intellect, temper the company cynical wit, and in the morning to pull off a home out of bed some fortuitously learned Beauty. The plot is difficult to talk - Sorrentino takes its viewers
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a tour of Rome, which is also a tour of the soul hero. Sacrum still gets along great with here with the profane, miracle worker sit at the same table with hochsztaplerami, and at night the Eternal City is transformed into a temporary center of the universe. Marcello turning into Jep has not changed too much. Sexual intensive therapy cured him of excessive exuberance to beautiful women and discovered that he could not waste any more time on things they
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not want to
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. His face betrays that chewed nature of the universe and took
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absolute certainty that underneath breathes emptiness, and life is the way to death, you can
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only make pleasant erudycyjnymi his jokes. But he also happens to painful moment of sobriety and anxiety when, during one of the morning returns home to meet the stairwell strange man, who would bring him the news of the unexpected death. Driven by the desire Fellini hero he threw himself greedily on life and its embodiment found
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in the sensory Hollywood actress. "Sylvia, you're everything. You're the first of the women. You mother, sister, lover, friend. You're an angel, devil, earth, home. That's what you are: home" - worships her in dance. This scene has its counterpart in Sorrentino, which shows the little guy performing at the foot of compulsive ballet dancer. Worships her and swears at his own way. "
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will fucked" - hisses again and again. If
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you
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read "The great beauty" as a portrait of Italian cultural elite, it would be extremely pessimistic picture, because Sorrentino divides its representatives on the pretentious fools and sages cynical. But that would be too simple - the result could be to pour the cream of
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society skisłą the toilet to regain its deep coffee taste, and humanity could return to a mythical paradise. The
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provides more or less a social diagnosis, what "divine" in which Sorrentino talked about career Giulio Andreotti. Is this elite shape the reality or reality elite?
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outside the frame, there
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are still some so-called "good, simple people" (Jep meets two such specimens and marvels at them, as if watching
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in the zoo cute little panda). But if it looks like the top of the social ladder, what chance have they who constitute its base? Toni Servillo in "The Big beautifully," more important than the diagnoses and the story is, however, form and in this respect closer to the
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"8 ½" than to "Sweet Life". Takes procession of freaks, images coalesce transform every moment into something new. The director pushes through the thick sieve reality, to squeeze out the water and compacted to the limit. Everything is exaggerated, held a sharp and thick line on too tightly stretched canvas. Even a nice smile turns into a weird grimace, behind which emerges, however, something real. Tools that give realism, sometimes turn out
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to be too poor to talk about reality. In Fellini for riot cudaczności, even when engagement with
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ugliness, always lurked life. In Sorrentino is rather a death.
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