It was the hand of God, Sorrentino’s Amarcord

Designated for Italy to compete in the selection for the Oscar for the best international film (next step: enter the shortlist on December 21st), with high hopes, I beg you by nominating in other categories, finalist at the European Oscars, the Efa a Berlin on 11 December, E ‘was the hand of God, the new film by Paolo Sorrentino that won Venice 78 the Grand Jury Prize and the Mastroianni Prize for its protagonist Filippo Scotti. Produced by Lorenzo Mieli and Paolo Sorrentino, A The Apartment production, is released in theaters and then after three weeks arrives on Netflix on December 15, 2021.
E ‘was the hand of God is not just an intimate film but the painful story in the details of his childhood, his parents, his relatives, his city and, apparently, with very few poetic licenses. A film-self-analysis, almost a Sorrentine Amarcord (even if the tutelary deity of the film recently said it is Troisi and not Fellini), a tribute to his Naples and to Maradona who would have saved him from death. In 1987, in fact, to attend a Napoli football match away and see the Pibe de Oro in action, the 17-year-old super fan director did not follow, for once, his parents who, like every weekend, go to the mountains. In the Roccaraso house, the couple is killed by a leak of carbon monoxide, leaving him orphaned. And here is the strongest scene of the whole film: the race of Fabietto Schisa (aka Sorrentino, played by Filippo Scotti) together with his brother (Marlon Joubert) at the hospital to discover, after a long embarrassment of the doctors, that both parents (Toni Servillo and Teresa Saponangelo) are dead. Before the tragedy, the director’s Fellini family gives their best: the beloved father is a man full of spirit and is always present (but, it turns out, he has a historical colleague as a lover), his mother she is a woman who loves to play jokes, her brother is an aspiring actor and, finally, there is a sister, Daniela, always locked in the bathroom. And again, the aunt Patrizia (Luisa Ranieri) beautiful, sexy and exhibitionist, married to the jealous Franco (Massimiliano Gallo), the elderly neighbor Baroness Focale (Betti Pedrazzi), the smuggler friend and many other characters. Between reality and fiction, everything happens. It starts with splendid sequences of Naples from the sea, there is a chase between financiers and smugglers in the gulf, a San Gennaro in a vintage Rolls Royce, a Munaciello (legendary sprite of Neapolitan folklore) in flesh and blood, Federico Fellini (only in voice) struggling with auditions, he on a vespa with both parents on the saddle, his meeting with Antonio Capuano who, without any grace, gives him indications regarding his confused desire to be a director. In a completely new film in the production of the Neapolitan director, more emotions than aesthetics are on the scene. This time the director does not look, but lets himself be looked at. And this without Morettian narcissism, but in his humanity, without hiding any fragility. What motivated the young Sorrentino in wanting to be a director? The same vision that pushed Fellini, namely the fact that “reality is poor”. (HANDLE).

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Source From: Ansa

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