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Paolo Sorrentino points his gorgeous camera to his hometown of Naples in this uneven coming-of-age story.

Joyce Glasser Review God’s hand (December 3, 2021) Certificates 15, 130

Paolo Sorrentino is Luca Guadagnino (Call me by your name), Today’s most famous Italian director. When he’s good, he’s so, very good, and his 2013 masterpiece, La Grande Berezza ((((Great beautyI won the Golden Globe Awards, the Bafta Awards, and the Academy Award for Best International Feature Film, but no one was surprised.When he’s not so good, it’s because of Fellini’s excessive spoiling, and Fellini’s ghosts haunt Solentino’s often mysterious, visually gorgeous and frustrating ones. God’s hand..

The title begins to match when you see the movie set in 1984 in the vibrant, colorful city of Naples. Schoolboy Fabiet Sisa (Filippo Scotty), his family, and everyone in the football maniac city are discussing rumors that young Diego Maradona will sign the struggling SSC Naples football team. Few people believe it.

Fabiet is a quiet and sensitive kid with curly hair and a beautiful androgynous face, walking around listening to music on headphones. Despite the excitement, life is more than football for Fabiet. For one thing, there is growing interest in women, especially his sexy and striking-looking aunt Patrizia (Luisa Ranieri), who flirts with him. He is appetizing, but confused by her progress and unable to understand how to respond.

Patrizia’s problem seems to be that she may suspect that her husband Franco (Massimilia Nogaro), who wants a baby and is very jealous, is part of the problem. He accused her of being a prostitute and beat her when she returned home late one night with the story of being taken to Little Monk, a mysterious character who gives her the blessing of giving birth. The Sisas are called in to calm things down, and Fabiet encounters foreign domestic violence for him. It will take some time before people realize that Patrizia has a mental health problem.

Another concern, which is latent at the moment, is the movie. When Ferrini is in town for bit casting (probably for his 1986 movie) Fred and GingerThe auditioned neighbor will be one of the pranks of Maria Sisa (Terrasa Saponangelo). This backfires. Marchino (Marlon Jubert) Fabiet’s brother is serious about becoming an actor, and if he doesn’t play that role, he’ll be intrigued by Fabiet’s films.

Some of the most authentic, warm and fun scenes in the film take place with the family and we grow up like Fabiet’s parents: his friendly father, Saverio (Sorentino’s muse, Tonicelville). ) And cheerful mother Maria. If we look at life through Fabiet’s eyes, they are a happy and loving couple. The boys are confused when Maria finds out that Saverio has a hidden mistress. But the loud and ferocious anger and the rampaging Maria’s reaction do not reach the pain we need to feel.

The very long sequence of extended families going out is reminiscent of the characters of Ferrini and the parade of his life. A close family has a summer lunch and board a boat to soak in the sparkling blue waters. It’s a very sensual outing and I want to be there instead of seeing it. Families have a hard time making fun of each other and knowing who they are. The problem is that not only are there so many characters that are all sketched, not drawn, but some of them play an important role in the following:

In another scene, Saverio works in a bank, but because the remote control is a luxury communist, he uses a stick to change channels on a small TV. But when the rumors prove to be true, the ticket to see Maradona isn’t a luxury, and for his 16th birthday, Saverio gives Fabiet a season ticket. Marchino remains in Naples with his new girlfriend when his parents go to the countryside for a break, and Fabiet remains behind to go to the game. This is fate.

In the most fascinating and memorable scene of this movie and other movies of the year, Saverio and Maria made it by seeing them sitting on the couch in their country and reading. It’s a spoiler to say, but the scene explains the more personal meaning of the title. Maradona talked about the goals of the century at the 1986 FIFA World Cup and denied cheating. He told reporters that the goal was scored “a little with his head, a little with God’s hand.”

There are other beautiful scenes, such as Fabiet lonely visiting Patrizia and being sedated at a mental hospital. She asks Fabiet what she wants to be when she gets older and shares his idea that he will be a film director. “What a great idea,” she says. Fabiet looks back at her and whispers, “You are already my muse.”

But Patrizia’s confession about the aftermath of her discussion with Franco can’t land Punch because it lost that moment. Fabiet then tells Patrizia that he believed in her when she told Franco that she went to see Little Monk. Locked to Fabiet’s imagination, Little Monk leaves Naples and reappears at the end of the film in search of fate.

Not surprisingly, this film won the Grand Jury Prize at the Venice Film Festival. It’s an Italian film, a Solentino film, and about future filmmakers. Filippo Scotti’s fascinating performance won the Marcello Mastroianni Award. However, while the film serves as a coming-of-age story, the scene where Fabiet loses his virginity to his eccentric upstairs neighbor Baroness Focale (great Betty Pedrazzi) is so realistic and beautifully performed. , We feel like a voyeur-it’s less compelling as a journey for up-and-coming filmmakers.

The final scene where the big shot director gives Fabiet contradictory advice is confusing. The relationship between Fabiet and the mysterious actress is meaningless, and he never discusses acting with his brother. Sure, Fabiet is an observer of life, but when he collects memories of the film he makes at the age of 51 (that is, this), he shows no particular passion for the basics of film and filmmaking.

The same is not true for Solentino.It may be unfair speculation, but there are significant physical similarities with Timothée Chalamet’s Elio. Call me by your name And Fabiet. And the final long shot of the movie in Fabiet’s quiet close-up remains stationary throughout the end title while listening to an impressive song. Call me by your name.. It’s the right way to end this movie, but you can’t reach the immersive limits of Luca Guadagnino’s unforgettable, gut-damaging ending.



Paolo Sorrentino points his gorgeous camera to his hometown of Naples in this uneven coming-of-age story.

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