With “It was the hand of God” the director Paolo Sorrentino signs his most beautiful story since the time of the “Divo”
Auto da fé in the form of training story, “It was the hand of God” surprise with wealth of his suggestions, because the autobiographical story (by now everyone knows that the film revolves around the tragic disappearance of the parents of the director Paolo Sorrentino at the time of her seventeen) is just one of possible leads to go through. There is obviously a part of memory family and one of fictional reconstruction, with their folkloristic gallery of transfigured characters from memory and fantasy; there is the dream of cinema like instrument per change reality and to give shape to its urgencies, together with the chimera of making it their profession, leaving Naples to look for one possibility in Rome. But there is above all, unspoken and yet evident and very present, one reflection on the “making cinema»And on his own brand image as a director e showman.
It style that Sorrentino it has been defining over the years it could be defined pyrotechnic, more rococò what a baroque style (two styles that in any case know how to bring outformal elegance the signs of a loss and one inner agony), but in this film it seems to me that everything leaves room for a new discovery essentiality expressive, to a more effective one narrative linearity. Starting from the initial shot, approaching a Naples, which is the real goal of the narrative to come. Sorrentino does not delete the refined taste for surprise images – the gigantic chandelier on the ground in the house of San Gennaro (Enzo Decaro) – or per oversized characters (the grandmother in fur coat who devours mozzarella in bites, that is Dora Romano) e extravagant (the ex-Alpine laryngectomized boyfriend, that is Alessandro Bressanello). But here everyone they seem answer one “need” that in other films he escaped or yes noticed less. Everything here contributes to creating that world “unconventional” which is the same one you are looking for Fellini when Sorrentino invents his descent to Naples in search of extras.
To keep everything together, a merge content e shape one would say using old but eloquent terminologies, it is the gyoung Fabietto (Filippo Scotti, Mastroianni prize in Venice as best hope), again naive teenager with an obvious adoration for father Saverio (Toni Servillo) and mother Maria (Teresa Saponangelo) as well as with one reciprocated attraction for Aunt Patrizia (Luisa Ranieri). These are the pins around which Sorrentino (unique author of the script) builds his network of Neapolitan “relations”, among meddlesome relatives and unexpected friends, from uncle Alfredo (Renato Carpentieri) who awaits the arrival of Maradona as of the messiah (the chronology of the film is quite elastic: varies from 84, the year of the arrival of the Kid under Vesuvius, in 1987, the year of first championship del Napoli) to marchesa snob of the floor above (Betty Pedrazzi) up to smuggler Armando (Biagio Manna) who dreams of driving offshore hulls or to the director-guru Capuano (Ciro Capano) who mistreat dreams youth of the protagonist.
In this way Sorrentino builds a movie which is many things together, where one integrates and explains the other. There private life by Fabietto, with the discovery of betrayal of the father (who had had a child with a colleague) and the torn love of the mother always ready to, ne forgive himenhances the sensitivity suffered and reactive but also opens chasms of pain that will accompany him for a long time (perhaps for a lifetime, to see the references and the allusions which Sorrentino then put in his films). While the colorful catalog of relatives and friends, told between the farce and theirony without ever, however, slipping into ridicule, it helps to tell in what world Fabietto / Sorrentino he grew up and was formed, as he made that one his own tendency to show off (Rococo?) which seemed to be his element of recognizability and how he absorbed it as well despair and the pain – the jealousies of uncle Franco (Massimiliano Gallo), the loneliness by Marietto (Lino Musella), la resigned vitality of his brother (Marlon Joubert). Arriving at to sign his best movie from the times of «Divo».
November 22, 2021 (change November 22, 2021 | 22:52)
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