La Grande Bellezza
The Italian elite lifestyle, in all its decadence and Armani garments, is far from shallow but plagued with inner-demons that outsiders could never understand; well, according to director and writer Paolo Sorrentino. He guides us through the ending of an aging socialite’s journey of selfish partying and gluttony to his self-awareness and longing for a deeper, more meaningful life. It is a film that examines a fear many of us have—realizing we’ve gone through an empty life with meaningless accomplishments and ingenuity. This deep phobia is encapsulated under the Roman sun, through the eyes of not only a lonely man but the washed-up celebrities, politicians, and artists of the city.
Jep Gambardella (Toni Servillo), Rome’s It-man for several decades, has just turned 65, stuck in the middle of his own grand celebration with go-go dancers and a drunken dwarf. This beginning scene perfectly personifies the wild but dull nature of the opulent Italian life Sorrentino was trying to convey. The shots jump from scenes of women with faces of plastic and judgement to bronzed men fawning over the seductive dancers on tabletops. The glittering garments clinging to their bodies and tailored suits of the debonair men, complimented with the shining glasses in their hands, were a significant touch provided by costume designer Daniela Ciancio. The cinematography’s combination created a whirlwind of emotions and a dizziness over the movie’s audience.
Through Jep's metaphysical crisis and spiritual questioning, we see his rejection of the life he basically created. As Jep sighs, we feel his disconnection at the lavish parties he attends.. The protagonist’s acting mixed with the chaotic, jumping scenes gives the audience a sense of what it is to have a long, wasted life through the eyes of a dreadfully bored man.
Sorrentino created a film that is filled with lively music, beautiful bodies, and contrasting imagery but disinterested bodies. He found a way to parallel the spiritual and the superficial forces within us all; not only in Jep but in everyone around him, from his closest friend, Romano's, own realization of a wasted life, to the nuns he passes. This is where Sorrentino's mastery is rightfully highlighted.
