Beauty is personified by Parthenope (played by the talented Celesta Dalla Porta), a predestined diva who goes through her youth enjoying it and making those who admire her and those who desire her enjoy it
This time too Sorrento will divide between detractors and flatterers. This time too, the absolute poetics of his latest film Parthenope will not be easy to assimilate. We are faced with a complex, theatrical, overflowing, metaphorical work, which unfolds in a destabilizing story. At the center is beauty with its unspeakable corollary of sex, exposed sex and incest. Beauty is personified by Parthenope (played by the excellent Celesta Dalla Porta), a predestined diva who goes through her youth enjoying it and making those who admire her and those who desire her enjoy it (indiscriminately friends, artists, Camorra members, prelates), but she will choose to become a professor of anthropology because the beauty that instead she searches and runs on other tracks, undermining a contemporary plot made up of easy illusions and visibility.
“It was all already planned” is the poignant soundtrack of the film which Sorrento fishing from a forgotten Cocciante (as he had done with Nada in The Young Pope), and perhaps it was already expected that the beautiful protagonist would cross the Naples of his youth light years away from political correctness, where courtship can be flaunted, here finally beauty can be admired and “seeed” (at the basis of anthropology as claimed by the professor played by an incredible Silvio Orlando), touched, break, desire, here Sorrento it seems to launch a cry of pain against a certain ragged respectability; a beauty, however, that does not exempt Parthenope from the most questionable acquaintances, after all we are still in Naples, suggestive and damned, from which the protagonist will only be able to escape in adulthood by taking shelter in a university chair in the mountains.
The work of Sorrento projects us first into youthful love (“which is the illusion of eternal serenity”), then into the most atrocious pain (such as the suicide of Parthenope’s brother) and finally into nostalgia caused only by time passing and not, as they want us to believe , from missed opportunities and other banalities about success with which we are imbued. That’s why, as they say in the movie“it is impossible to be happy in the most beautiful city in the world”. We talk about Naples without making judgements, we don’t judge people, we live and enjoy, we despair, but above all we cling to the happy moments. Zero morality, as always in Sorrentino’s films, never fleeting sentimentality.
The metaphors and grotesque exasperations typical of the cinema are endless Sorrento which shock, disturb and amuse: from the squalid and icastic Cardinal Tesorone who unites the sacred and the profane (with the epic scene of the blood of San Gennaro that does not melt while the church rolls in absurd superstitions) to the masked acting teacher, from a large Buddha of water and salt to sex consumed publicly to seal a mafia pact, from the writer Cheever (an extraordinary Gary Oldman) old man and alcoholic who rejects Parthenope because he doesn’t want to deprive her of a single penny of her youth from the Neapolitan diva Greta Cool who is angry against her city, from the ship-owner Commander to the acrobatic finale of a Naples celebrating in front of a Parthenope in the meantime she has become old (played by Stefania Sandrelli).
Her beauty has now faded but she is vital because she is aware that life has reserved for her an incredible cavalcade of emotions (which attenuate nostalgia), what remains are the magnificent and immanent glimpses of a city that instead is there still, motionless, degraded and beautiful , a perfect theater of life. Actors in a state of grace, masterfully directed by Sorrento who, if you haven’t figured it out yet, is among the greatest living directors. A director who is also a writer and in this film traces of his lyrics such as “They are all right” and “Tony Pagoda and his friends”. Now let’s make room for the detractors who have a thousand pretexts to hate this film (pretexts precisely…).
Read also/ Valencia, the late alarm: “The river passed through the buildings”. Even the jackals: “They steal everything from us” – Affaritaliani.it
Interview between Time.news Editor and Cinema Expert on Sorrentino’s “Parthenope”
Time.news Editor (E): Good morning and welcome to our special feature on cinema. Today, I’m joined by renowned film critic and expert, Dr. Laura Ricci. We’re here to dive into Paolo Sorrentino’s latest film, “Parthenope.” Laura, thank you for joining us.
Dr. Laura Ricci (L): Thank you for having me! I’m excited to discuss Sorrentino’s intricate work.
E: Let’s start with the character of Parthenope, portrayed by Celesta Dalla Porta. How does her journey reflect the themes of beauty and desire in Sorrentino’s film?
L: Parthenope is a fascinating character. She embodies beauty, not only as an aesthetic value but also as a concept interwoven with desire, power, and ultimately, tragedy. Throughout her youth, she captivates those around her—friends, artists, and even nefarious figures like Camorra members. It sets the stage for a deeper examination of what beauty entails in modern society. Her ultimate decision to pursue anthropology instead of simply reveling in her beauty is a striking commentary on superficiality versus deeper understanding.
E: That’s an insightful take. It seems Sorrentino challenges the viewer’s perception of beauty as something purely visually pleasing, don’t you think?
L: Absolutely. Sorrentino’s narrative suggests that beauty is multifaceted and tied to societal constructs. The line between admiration and desire is blurred, showing that the pursuit of beauty can lead to both profound connections and painful consequences, such as the tragic suicide of Parthenope’s brother, which starkly contrasts with her otherwise vibrant depiction.
E: The film seems to oscillate between youthful exploration and the harsh realities of life. How does Sorrentino utilize the setting of Naples to enhance these themes?
L: Naples is almost a character in itself. It’s a city of contrasts—rich in history and culture, yet also mired in complexity and despair. Sorrentino’s portrayal of Naples is visceral; it reflects both the allure and the dangers of the passions it evokes. The film doesn’t shy away from showcasing courtship and desire openly, challenging the political correctness often seen in contemporary narratives. In doing so, it offers a rawness that invites a real engagement with beauty, desire, and even violence.
E: There’s a poignant line in the movie about happiness being impossible in the “most beautiful city in the world.” How does this encapsulate the film’s message?
L: That line is emblematic of Sorrentino’s broader philosophical questioning of happiness and fulfillment. It challenges the cliché that beauty always leads to joy. Instead, it proposes that true happiness is elusive, often overshadowed by nostalgia and regret. The characters live intensely but grapple with their ephemeral moments, suggesting that perhaps the more beautiful the surroundings, the more painfully highlighted are their internal struggles.
E: And what about the film’s soundtrack, particularly the poignant “It was all already planned”? How does it interact with the film’s narrative?
L: The soundtrack is crucial in establishing the tone and emotional undercurrents of the film. By incorporating a lesser-known work from Cocciante, Sorrentino creates a bridge between memory and the present. The music underscores the inevitability and cyclical nature of Parthenope’s experiences, enhancing the sense of longing and fate that permeates the narrative. It adds layers to the storytelling, inviting the audience to reflect on the background of the characters as they confront their desires and regrets.
E: Last question: Sorrentino is known for his metaphors and occasionally grotesque humor. How do you think he balances these elements in “Parthenope”?
L: Sorrentino expertly weaves metaphors and dark humor throughout the film, allowing for moments of levity amidst deeper, more difficult themes. For instance, the character of Cardinal Tesorone exemplifies this balance; he represents a union of the sacred and the profane, allowing the audience to engage with the absurdities of life in Naples. It’s a reminder that even in the face of pain and tragedy, art and humor can emerge, making the viewing experience both shocking and deeply reflective.
E: Thank you, Laura, for your insights into Sorrentino’s “Parthenope.” It seems to be a profound exploration of beauty, desire, and the complexity of human experience.
L: Thank you for having me! It’s been a pleasure to discuss this remarkable film.