| The Great Beauty | |
| Native Name: | |
| Director: | Paolo Sorrentino |
| Story: | Paolo Sorrentino |
| Music: | Lele Marchitelli |
| Cinematography: | Luca Bigazzi |
| Editing: | Cristiano Travaglioli |
| Language: | Italian |
| Budget: | €9.2 million |
| Gross: | $24.9 million[1] |
The Great Beauty (Italian: La grande bellezza pronounced as /it/) is a 2013 art drama film co-written and directed by Paolo Sorrentino. Filming took place in Rome starting on 9 August 2012. It premiered at the 2013 Cannes Film Festival where it was screened in competition for the Palme d'Or.[2] It was shown at the 2013 Toronto International Film Festival,[3] the 2013 Tallinn Black Nights Film Festival (winning Grand Prix), and at the 2013 Reykjavik European Film Festival.
The film won Best Foreign Language Film at the 86th Academy Awards,[4] as well as the Golden Globe and the BAFTA award in the same category. It is a co-production between the Italian Medusa Film and Indigo Film and the French Babe Films, with support from Banca Popolare di Vicenza, Pathé and France 2 Cinéma.[5] [6] With a production budget of €9.2 million, the film grossed over $24 million worldwide.
The film opens with a quote from Louis-Ferdinand Céline's novel Journey to the End of the Night: "Travel is useful; it exercises the imagination. All the rest is disappointment and fatigue. Our journey is entirely imaginary. That is its strength. It goes from life to death. People, animals, cities, things – all are imagined. It's a novel, just a fictitious narrative. Littré says so, and he's never wrong. And besides, in the first place, anyone can do as much. You just have to close your eyes. It's on the other side of life."[7] [8] [9] [10] [11]
Jep Gambardella is a 65-year-old seasoned journalist and theater critic, a fascinating man, mostly committed to wandering among the social events of a Rome immersed in the beauty of its history and in the superficiality of its inhabitants today, in a merciless contrast. He also ventured into creative writing in his youth: he is the author of only one work called The Human Apparatus. Despite the appreciation and the many awards he received, Jep has not written other books, not only for his laziness but above all for a creative block from which he cannot escape. The purpose of his existence has been to become a "socialite", but not just any socialite, but "the king of society".
Jep is surrounded by several friends: Romano, a playwright who is perpetually on the leash of a young woman who exploits him; Lello, a mouthy and wealthy toy seller; Viola, a wealthy bourgeois and mother of a son with serious mental problems named Andrea; Stefania, a self-centred radical chic writer; Dadina, the dwarf editor of the newspaper where Jep works.
One morning, he meets the husband of Elisa, a woman who has been Jep's first and probably only love: the man announces that Elisa has died, leaving behind only a diary in which the woman tells of her love for Jep; thus, her husband discovered that he had been a mere surrogate for 35 years, nothing more than "a good companion". Elisa's husband, now afflicted and grieved, will soon find consolation in the affectionate welcome of his foreign maid. After this episode, Jep begins a profound and melancholic reinterpretation of his life and a long meditation on himself and on the world around him. And, above all, he thinks about starting to write again.
During the following days, Jep meets Ramona, a stripper with painful secrets, and Cardinal Bellucci, in whom the passion for cooking is more alive than his Catholic faith; Jep is gradually convinced of the futility and uselessness of his existence. Soon his "vicious circle" also breaks down: Ramona, with whom he had established an innocent and profound relationship, dies of an incurable disease; Romano, disappointed by the deceptive attractiveness of Rome, leaves the city, farewelling only Jep; Stefania, humiliated by Jep, who had revealed her secrets and her lies to her face, left Jep's worldly circle; Viola, on the other hand, after the death of her son, donates all her possessions to the Church and becomes a missionary in Africa.
Just when hopes seem to abandon Jep once and for all, he is saved by a new episode: after a meeting, pushed by Dadina, who wants to get an interview with a "Saint", a Catholic missionary nun in the Third World, Jep goes to Giglio Island to report on the shipwreck of the Costa Concordia. Right here, remembering his first meeting with Elisa in a flashback, a glimmer of hope rekindles in him: his next novel is finally ready to come to light.
| Title | Album | Artists | Composer | ||
|---|---|---|---|---|---|
| 1 | "I lie" (The Little Match Girl Passion) | 1-01 | Torino Vocalensemble | David Lang | |
| 2 | Far l'amore | 2-01 | |||
| 3 | More than scarlet | 2-02 | |||
| 4 | Mueve la colita | 2–17 | |||
| 5 | My heart's in the highlands | 1-03 | Arvo Pärt | ||
| 6 | Que no se acabe el mambo | 2–14 | |||
| 7 | The Lamb | 1-07 | John Tavener text by William Blake | ||
| 8 | Parade | 2-06 | |||
| 9 | III. Lento—Cantabile-semplice from Symphony No. 3 | 1–10 | Henryk Górecki | ||
| 10 | World to come IV | 1-02 | David Lang | ||
| 11 | Moody | – | |||
| 12 | Take my breath away | 2-03 | |||
| 13 | The beatitudes | 1-05 | Vladimir Martynov | ||
| 14 | Forever | 2-08 | Maurizio Fabrizio | ||
| 15 | Pancho | – | |||
| 16 | There must be an angel (playing with my heart) | – | Annie Lennox, David A. Stewart | ||
| 17 | Water from the same source | 2–10 | Rachel's | ||
| 18 | II. Adagio from Symphony in C major | 1-08 | Georges Bizet | ||
| 19 | Dies irae from Requiem for my Friend | 1-06 | Zbigniew Preisner | ||
| 20 | Everything trying | 2–05 | |||
| 21 | Discoteca | 2–16 | |||
| 22 | We no speak americano | 2–15 | Studio Allstars | ||
| 23 | Ti ruberò | 2–12 | |||
| 24 | Trois mouvements perpétuels | – | Francis Poulenc | ||
| 25 | Beata viscera | 1–11 | Vox Clamantis | Magister Perotinus | |
| – | Time | 1-04 | Lele Marchitelli (it) | ||
| – | River flows | 1-09 | Lele Marchitelli | ||
| – | Brain waves | 2-04 | Lele Marchitelli | ||
| – | Color my world | 2-07 | Lele Marchitelli | ||
| – | Surge of excitement | 2-09 | Lele Marchitelli | ||
| – | Settembre non comincia | 2–11 | Lele Marchitelli | ||
| – | Trumeau | 2–13 | Lele Marchitelli | ||
| – | Ramona | 2–18 | Lele Marchitelli |
The review aggregator website Rotten Tomatoes reported a 91% approval rating, based on 135 reviews, with a weighted average rating of 8/10. The website's critical consensus states, "Dazzlingly ambitious, beautifully filmed, and thoroughly enthralling, The Great Beauty offers virtuoso filmmaking from writer/director Paolo Sorrentino."[12] The film holds a score of 86/100 on Metacritic based on 34 reviews, signifying "universal acclaim".[13]
Robbie Collin at The Daily Telegraph awarded Sorrentino's film the maximum five stars and described it as "a shimmering coup de cinema". He likened it to Roberto Rossellini's Rome, Open City and Federico Fellini's La Dolce Vita in its ambition to record a period of Roman history on film. "Rossellini covered the Nazi occupation of 1944; Fellini the seductive, empty hedonism of the years that followed. Sorrentino's plan is to do the same for the Berlusconi era," he wrote.[14] Deborah Young of The Hollywood Reporter stated "Sorrentino's vision of moral chaos and disorder, spiritual and emotional emptiness at this moment in time is even darker than Fellini's (though Ettore Scola's The Terrace certainly comes in somewhere)."[15] Critics have also identified other purposefully explicit film homages: to Roma, 8½,[16] Scola's Splendor, Michelangelo Antonioni's La notte.[17] Spanish film director Pedro Almodóvar named the film as one of the twelve best films of 2013, placing it second in his list.[18] In 2016, the film was ranked among the 100 greatest films since 2000 in an international critics poll by 177 critics around the world.[19] It is currently director Paolo Sorrentino's second highest rated film on Rotten Tomatoes.[20]
Various critics named the film as one of the best of 2013.
Peter Bradshaw also named the film as one of the 20 best films of the 21st Century in the Guardian.[37]