LORO

Italy, 2018, 152 minutes, Colour.
Toni Servillo, Riccardo Scarmacio,
Directed by Paolo Sorrentino.

Loro is the Italian for “Them�. And, here, who is Them?

Writer-director, Paolo Sorrentino, has made quite a name for himself in Italy and internationally. In the past he has made some telling domestic dramas, has been highly critical in his portrait of Christian Democrat politician, Giulio Andreotti, in the film Il Divo he also won an Oscar for Best Foreign Language Film for La Grande Bellezza, The Great Beauty, in 2013, wandering through contemporary Italian society, social, political, ecclesiastical, his working in the Federico Fellini tradition, the 21st-century La Dolce Vita. Then he made the television series, The Young Pope, with Jude Law as Pius XIII, a young American cardinal who firmly believes in his own infallibility and treats the church as such. Quite a record for a decade of film and television-making.

Loro is quite ambitious. Again, one might note the tradition of Fellini, once again the overtones of La Dolce Vita.

The film is in two parts. The first focuses on a young man with entrepreneurial ambitions and dreams, Sergio (Riccardo Scarmacio) who is not afraid of political blackmail and using sexual intrigue to gain his contracts. He comes from the Italian South, is married to an ambitious woman who has been connected with politicians in the past. It is to be noted that his father, of the old school, heartily disapproves of his son and his behaviour. Then Sergio moves to Rome. However, his ambitions is to meet the mysterious industrialist who has a mansion on the island of Sardinia.

In the second part, we see this mysterious figure in his mansion, having succeeded in building up a fortune, in business, in ownership of football teams, in power over several networks on television. He is not a fictitious character (the opening information for the film indicating that it is based on fact – but always on interpretation of fact). And the figure is Silvio Berlusconi.

For Italian audiences, there will be no difficulty in identifying Berlusconi, remembering who he has been, his years in political power, his conservative stances politically but his permissiveness, socially, in his life, in the media. (Italian writer-director, Nanny Moretti, also had a film about Berlusconi, very critical, in 2008, Il Camaino). For non-Italian audiences, the film may be something of a revelation, needing to be checked in some detail with authenticated facts, but certainly fostering a dislike and distain for Berlusconi.

Sorrentino has been very well served in several films by the presence of Toni Servillo. He portrayed Andreotti in Il Divo. He was at the centre of The Great Beauty. He is the embodiment, sometimes with a touch of the grotesque, especially his black-plastered hair, make up, giving something of an impression that he is an embalmed Bella Lugosi.

So, the second part of the film shows his ascent, political coming, the persuasion of six senators to cross the floor and enable him to move into leadership. But, his wife is exasperated and leaves him. And, what about Sergio? He comes into the good graces of Berlusconi, has shown that he is able to organise social events, round up plenty of attractive women, would-be actresses, starlets, the sexy kind of emphasis that was a mark of Berlusconi’s television productions. But, Sergio is no match for Berlusconi. He does his will, but makes a poor judgement in asking about his preferment, falls by the wayside.

The film is long, perhaps indulgent in its portrayal of Berlusconi’s world, perhaps wallowing in the sexy glamour, but always targeting Berlusconi and his treatment of Italy. Probably best to check with a politically-savvy Italian to discover what is accurate and what is satire (or both?).

1. The impact for an Italian audience and its knowledge of Italian politics and Silvio Berlusconi? The impact for a universal audience? Knowledge of Berlusconi or not?

2. The title, the reference to Them? And who is Them?

3. The work of Paolo Sorrentino, style, Italian filmmaking tradition, the influence of Fellini? The range of his films and television series? 21st-century and La Dolce Vita? Humour, irony, satire? His several collaborations with Toni Servillo?

4. The first part of the film focusing on Sergio, contemporary ambition, the visuals like so much of Italian television promoted by Berlusconi? Wanting to encounter Silvio? The second part of the film and the focus on Berlusconi himself?

5. The declarations at the beginning of the film, connection with characters and reality, but adaptable?

6. The visuals, the mansion on Sardinia, the cities of Italy’s South, Puglia, Taranto, the sequences in Rome? Fashion, media, politics? The musical score?

7. The images of Berlusconi’s Italy, lavish style, mansions and interiors, grounds, the island of Sardinia, the TV world, the presence of girls, sex and provocativeness, the atmosphere and decadence behind the cameras, the contrast with Berlusconi quiet at home with his wife? The background of politics, interviews with politicians, loyalty and disloyalty, political situations?

8. The earthquake in L’ Aquila, the devastation, the earthquake as symbolic of Berlusconi and his career, his visits to the town, his promises to the people, the old woman with dentures (and the gift)? The rebuilding of the town – and Berlusconi rebuilding his career?

9. Sergio, go-getter, his relationship with Tamara? His relationship with his demanding father? The episode on the boat, his using Candida and her sexuality, the politician on the boat, the discussion about contracts and politics, lunches for schools, the sexual display, the sexual encounter, blackmailing the politician, his promise? His father’s denouncing him? Tamara supporting him?

10. Sergio, his character, age, entrepreneur, the girls, auditions, the ogling men, sex? Going to Rome? The encounter with Kira, the parties, the insinuations? Her response to him? Promises to introduce him to Berlusconi? Tamara and her past relationship with the politician? An atmosphere of corruption?

11. Sergio, his expressed ambitions, wanting favours from Berlusconi, the adulation, Berlusconi using him to provide the girls, the parties, Sergio and his poor timing of the request? Dependence on Kira?

12. The long sequences of Berlusconi at home, his appearance, hair, the touch of the Bela Lugosi-embalmed look, his vanity? With his wife, the bond with her, her personality, her going away on the holiday, her return and the discussion about the divorce? The effect on him? His exercise of power?

13. Indications of his success in business, television empire, the discussion with the footballer and his ownership of the football club?

14. The political background, the suggestion about winning over six senators, the interviews, discussion about principles, pragmatism? Rejection, the six he accepted? The success and the consequences for his role in government, his being sworn in?

15. The social aspects of his position, the discussions with Sergio, the relationship with Kira, organising the parties, the number of women present? With the politicians? Overtly sexual, sexual innuendo?

16. Sergio, his wrong move in asking for preferment, Berlusconi’s reaction?

17. Symbolism of the earthquake and the collapse of L’ Aquila, Berlusconi and his presence, the encounter with the old woman and her loss of her dentures, later sending the replacements? An opportunity for popular intervention? The devastation the city – and the possible interpretation of it being in symbolic image of Berlusconi, collapse, rebuilt?

18. Audience response to Berlusconi, as a person, businessman, career? His role in Italy, in government for so long? Upfront? Behind-the-
scenes?

19. Audiences discerning Sorrentino’s intentions in this presentation of contemporary Italy and, especially, of the personality of Silvio Berlusconi?