In his most personal film to date, Paolo Sorrentino is too timid in confronting the depth of his grief, seemingly embarrassed of eliciting pathos. With more a truthful rawness, it could've been a masterpiece....
I was so put off by just the sacrilege inherent in the title of an article by Jimmy So in The Daily Beast that I couldn’t read it, and was less inclined to see Paolo Sorrentino’s The Great Beauty than ever. The blasphemous title was The New Fellini: Paolo Sorrentino’s ‘The Great Beauty.’Sorrentino a new Fellini? Why, how dare he! Many Italian directors have added Fellinesque elements to their work, Woody Allen even make Stardust Memories as a spoof of il maestro’s 8½ , but to actually declare anyone to be Fellini himself? Like I said: sacrilege.
Eventually I was forced to surrender to the positive buzz and see the film. And then I read So’s article, in which he has a few of my same observations, namely that Sorrentino
We can just imagine the many, many, many pitch meetings that took place all over Europe at various festivals for a couple of years while they cobbled together the financing for Paolo Sorrentino’s new film: