LA GRANDE BELLEZZA/ THE GREAT BEAUTY
Italy, 2013, 142 minutes, Colour.
Toni Servillo, Carlo Verdone, Sabrina Ferilli.
Directed by Paolo Sorrentino.
Just when you are pleased that you have made the Fellini connection with La Grande Bellezza, you find that every reviewer and every blogger has had the same thought. Never mind, it is, most definitely, very close to a Fellini film, especially through most of the running time, La Dolce Vita. It is Rome and La Dolce Vita since the release of the film in 1959. This is one of Italy’s most eminent directors in recent years, Paolo Sorrentino, and his meditation on Rome, its hedonistic life and culture and, in the latter part of the film, its worldly Catholicism.
For those who have visited Rome, for those who know it well, the film will be fascinating, stopping along the way at many landmarks in the city as well as many of the ordinary goings-on in the different quarters. For those who do not know Rome, it may be difficult to see some of the points or appreciate how it Roman in look and style, language and image that the film is.
The opening is a tantalising look at some aspects of the city, Japanese tourists and one dropping dead after taking photos, a choir of women singing in the alcove of an agent building… And then a huge scream and in an instant transition to La Dolce Vita, 21st century style, pounding music, writhing dancing, over made-up older women, under-clad younger women, older men, younger gigolo types, with atmosphere of rhythms and beats, provocative sexual poses, drugs. And from this emerges the man whose 65th birthday it is, Jep (Tony Servillo who has appeared in most of Sorrentino’s films), King of the socialites, known by everyone, knowing everyone, mingling with the guests, a complacent smile on his face (or is it incipient boredom?), a writer of only one novel, 40 years earlier, everybody asking him why he has not written more. He has, but only articles and commentary on Rome’s culture.
As the plot emerges, Jep and some other characters also emerge. over the long running time of the film, we are shown Jep in various situations, like a pseudo-dramatic art performance in a field outside Rome and an interview with the pretentious performer, going to an exhibition photos of every day in the life of a now middle-aged man, going to a kind of clinic where an expert (or a charlatan) injects into clients, including a nun who has sweaty hands, and charging a small fortune for his services. There is also a little girl whose parents encourage her to take buckets of paint, throw them on a canvas, her hands over them and produce an expensive inverter, work of art’.
On the personal side, Jep encounters a friend who had married the love of Jep’s life long since. He has read her diaries and found very little reference to himself, only as a companion, and says there is no reference to.Jep. This occasions flashbacks to his encounter with the girl – and his regrets that he never followed through with her? A father is concerned about the sexual activities of his middle-aged daughter. Jep becomes friendly with her, goes to social events and parties with her, takes her to an exclusive gallery, but she is ill. And there is his writer friend of 40 years who is desperate to succeed theatrically and, momentarily, does. Another friend has a giraffe in the Coliseum and promises to do a magic trick to make the giraffe disappear.
After all the partying, after all the strange counters encounters, with all the Fellini style grotesques, and his impending age, Jep begins to take stock of his life. At a wedding reception, he encounters a cardinal, ascetic looking, pleased with all his cardinalatial robes, who is touted to be the next Pope, but his conversation is generally confined to recipes, cooking and cozying up to Roman aristocracy. (It would be interesting to see Pope Francis review of the film and his comment on this character!).Then, at the end, a 104-year-old nun who has worked in Africa visits Rome. She has a reputation as a saint (echoes of Mother Teresa) and is being touted by an over-enthusiastic, unctuous entrepreneur. However, as she sits on a kind throne and dignitaries, from various faiths, come to kiss her hand, her legs dangle, she shakes her sandal and it falls off. It is an arresting symbol of this artificial scene.
Jep wants to ask the Cardinal a spiritual question, but the Cardinal is distracted and hurries off to lunch. Later Jep says to him that he doesn’t think he should ask the question – because he could be disappointed if the Cardinal had no answer.
The sister agrees to go to a dinner at Jep’s house, the Cardinal trying to draw attention to himself and his recipes, while the entrepreneur explains that she eats roots – and the Cardinal saying he liked roots with lemon! She excuses herself to go to the toilet and is later found asleep on the floor, which is her custom. In the morning, a flock of huge birds, winging themselves out of Europe, are found on the balcony. She breathes out and they fly away. She advises Jep that roots are important. While she ascends the Scala Santa on her knees, indicating faith and belief in the transcendent, Jep goes back to the lighthouse and the memories of his early love, the final two images of the film being the sister on the steps and the image of the girl Jep loved.
The final credits are beautiful, gliding along the Tiber, the camera roving around, watching people on the bridges, gliding under the bridges, to a rather plaintive melody. Jep has been asked about his search for the great beauty. He seems to be coming close to the end of his quest.
1. Critical acclaim and awards?
2. An Italian masterpiece?
3. The focus on Rome, its beauty, history? Contemporary? The comparisons with La Dolce Vita and Fellini? 50 years later, Roman and Italian society, hedonism and decadence, the media, music, arts and culture, men and women, the church?
4. The title, Rome, classical Rome, pop art Rome, seeking the great beauty, writing about it? The contrived and double standards, pretentiousness, deeper beauty, love, the church, religion and transcendence? The final image of the Saint climbing the Santa Scala, the image and a memory of the girl?
5. The introduction, the classical music, the camera movement, focusing on Rome, editing and pace, the choral music? The Japanese tourists, the guide, the Japaneseman photographing and dying, the businessmen and his phone call and abrupt manner, the focus on the choir, the soprano? The effect?
6. The loud scream, the close-up of the mouth? The party, the vivid dancing, with the music and the beat, and the roof, of the Martini sign, the night, Jep and his 65 birthday? The groups, men and women, the grotesques, Fellini-esque, the writing dancing, the frenzy? Sex, behaviour, drugs? Art and bottles, costumes and nudity? Theatrical style? The length of the party sequence? The atmosphere?
7. Jep emerging from this group? At 65, journalist, to have the socialites, knowing everyone, everyone knowing human? His reputation? Here is enjoying the party?
8. Introduction to the characters at the party: Dadina, a dwarf, editor of the magazine? The man who continually asked about screwing? The author from the country, talking to the stars, their insulting him, walking away? Aristocratic Romans?
9. The collage of the characters, their behaviour, events? Throughout the film? Arbitrary crossing to different characters, events, idiosyncrasies? Patterns in the overall visuals of the film? Insertion of characters and events?
10. Jep in himself, his age, his having written one novel, 40 years earlier, everybody asking him why he didn’t write more? At home, the luxury, the Coliseum, his maid and calling her ‘rascal’? His wandering around Rome, schoolchildren, the nuns? His going to bed late, the hours of his lifestyle? His comfort being pandered to? His discussions with the editor, friendship with her, at ease, the meals and enjoying them? Encounter with a stranger in the lift and asking about his suit? His ignoring him? Let discovering that he was the wanted criminal?
11. The meeting with his friend, the death of his form of love? The story of the diary, the friend worried about the few mentions of him, only as a companion? Saying there were no mentions of Jep? His throwing away the diary? Jep, his memories, his love, young, the flashbacks? Swimming and the boat coming to run him down? Seeing the girl at the lighthouse? The tantalising memories? The memories at the end of the film, talking with her, her wanting to show him herself, his regrets? The friend and the new woman in in his life, not going to the party, an ordinary life at home?
12. Ramona and her father, his concern, her age, her sexual reputation, Jep meeting her, talking, and memories of the athletic football player and his gymnastics? The friendship, frank discussions? Taking her to the party, her provocative costume?Going to the exclusive gallery, the curator, the old princesses playing cards? Meeting people? Going home with her, not having sex, her illness, medication, deaths? The father and his regrets?
13. The young man at home, mental disturbance, naked, his mother? The driving, talking with Jep and Ramona in the restaurant? His mother arriving, her concern, thinking he was better? The visuals of his suicide and driving towards the balcony? His funeral, the range of friends coming? Prayer? Jep and his talking about not weeping? Jep being moved, going to the front, offering consolation, carrying the coffin, his weeping? Ramona surprised?
14. The author, 40 years in Rome, being told his work was crap? Always going to the parties, dancing? His performance, the audience clapping, his talking to Jep, his decision to go home, Rome disappointing him?
15. Arturo and the giraffe, making it disappear, saying that everything was a trick?
16. Jep’s book, his never having written anything more except articles? everybody asking about it?
17. The talks with Dadina, her food, her status as a dwarf and her place in society?
18. His becoming disillusioned, being bored? The art manifestations, the performance at the aqueduct, the naked woman, the people on the grass, her headbanging? His interview with her, her pretentiousness, his asking about the vibrations and her not being able to explain? The later conversation with Dadina about this? The little girl, wanting to play,l go to bed, her parents demanding that she painted, the episode of the buckets of paint, splashing them on the screen, wiping them, creating the artwork? Jep’s lack of sympathy? Comment on the millions that she made?
19. Jep’s encounters, the walk around the city, the nuns in the habits, the children in habits, his observing? Going to use the room for the injections, the range of clients, the numbers and their being served, the professional man, his personal dealings with people, ousting the woman who went to a rival, flattering others, the nun and her sweaty hands – and her later appearance in connection with the Saint? The man with his exhibition of photos, every day of his life, in the cloister? Jep talking with him, his reaction?
20. The wedding ceremony, on the lawn, the dancing, the music? The encounter with the Cardinal, his character, age, people saying that he was going to be Pope? His settled look, yet pomp? All his talk about cooking, meals, ingredients? People’s admiration? At the table, the preparation of special rabbit dinners? Jep asking him spiritual questions? His being invited, distracted and hurrying to lunch?
21. The cardinal and the audience, focusing on himself, talking about going to the meeting with the Saint? At the meal, his drawing attention to himself, the Saint and her eating roots, his recipe for roots with lemon? Jep wanting to ask a question, not pursuing it and saying that he would be disappointed if the Cardinal had no answers? After the meal, outside, apologising, asking if he was a great exorcist, the Cardinal saying nothing, giving a blessing and driving off in his limousine?
22. Talk about the Saint, her work in Africa, aged hundred and four, the plan for the interview, the invitation to the audience, her sitting on the chair, people coming to pay homage, kissing her hand, prelates, nuns, African tribesman… her swinging her feet? The sandal falling off?
23. Going to the meal with Jep? Her admiration for his novel? The entrepreneur promoting her, his smile, and sharing the questions instead of her? The issue of press conferences? The Saint, at the table, only eating roots, the story of her sleeping on the floor for a few hours? wanting to go to the toilet? her lying on the floor, Jep and his coat, discovering her there? The next morning, all the birds on the veranda, the entrepreneur and his explanation, their stopping off in Rome, her blowing the breath of air flying away? Her admiration for Jep’s novel and wondering why he wrote no more? Her adding the importance of roots?
24. The Saint, going to the Santa Scala, going upon her knees, the close-ups, the effort, moving towards the top, her motivation, asceticism, faith and devotion? An illustration of holiness – and transcendence?
25. Jep, travelling south, the boat, seeing the lighthouse, reliving the memories? Her final image?
26. Jep and is explanation of his search for the great beauty, in Rome, the other quests, leading to transcendence?
27. The final credits, the plaintive melody, sailing on the river, the bridges and the movement of the camera, vehicles and people on the bridges, the nuns and their taking a photo, realistic and poetic images of Rome and its great beauty?
