702 The Great Beauty

[ellipsis7]

Sorrentino Q&A...

[ellipsis7]

Golden Globe for Best Foreign Film, but have to say, having just caught the AE DVD, am slightly disappointed in this film, great performance from Servillo nonetheless, Sorrentino's visual acrobatics left me somewhat cold, and ultimately it's a pale imitation of its illustrious predecessors (Fellini et al.)...

[Yaanu]

It looks as though they're also releasing the film in a DVD-only set alongside the Dual-Format release.
Probably another awards-season case like "Blue is the Warmest Color".

[Moe Dickstein]

Wonder if certain contracts require a separate DVD release. I'd imagine it to be a factor only for new releases like this though.

[cdnchris]

I'd assume it's for whatever is left of the rental market.

[Moe Dickstein]

exactly - Redbox

[CSM126]

Except that Redbox wouldn't necessitate a stabd-alone DVD release. Redbox doesn't utilize the keepcase packaging (they just spit out CD-sized clear cases with the disc inside), and for two I'm pretty sure rental outfits don't just go and buy a retail copy of a movie at the mall and start loaning it out.

[cdnchris]

I don't know if it would be Redbox specifically (plus I'd think it would be a better deal if they just bought dual-format editions, if they're allowed to do so, though I guess they usually only stock DVDs of foreign films.) But there are still plenty of actual physical locations that rent out DVDs/Blu-rays as a supplemental business. Safeway still has a rental section, the one closest to me having a pretty decent selection. When it comes to foreign films they usually only stock ones that have at least been nominated for major awards (Oscars, Golden Globes, etc.) and in those cases they'd probably stock 3 or 4 DVDs and then 1 Blu-ray (in the case of dual-formats they usually toss the DVD.) So I'm guessing it's aimed more at them.

(We'll see if they actually stock Blue is the Warmest Color. The one closest to me might. The one near where I used to live certainly wouldn't.)

[CSM126]

I'm genuinely surprised that an actual honest to god rental store still exists anywhere. Haven't seen one of those in years.

[criterion10]

I was lucky enough to see this on the big screen earlier today -- it's a feast of sight and sound, beautifully photographed and filled with a soundtrack to die for.

That being said, I would be lying if I didn't say that I was slightly underwhelmed. It's a very good movie overall, but most definitely too long. The first 15 minutes or so is perfect, but as the film progresses, it does start to drag. Some scenes lack continuity, and while they may work as individual pieces on their own, they don't exactly gel properly in the grand scheme of things. (Maybe a more cohesive narrative might have helped the film? -- Though I'm not entirely sure if that's the issue here.) The final half hour of the film though almost makes up for this dilemma.

There's a lot of interesting themes presented here, a lot to digest, and a lot that interests me to give the film another watch after allowing for it to settle some more. I'm sure I'll end up purchasing the Criterion release at some point.

[Fortisquince]

I couldn't agree with you more, Criterion 10. I saw TGB on the big screen yesterday too and loved the first hour. After that I thought the film became very digressive and meandering. I thought this was a good film, but it had a chance to be a great film. Oh well.

[Lowry_Sam]

I was also underwhelmed, but only because I had read so many glowing reviews. Overall, I still enjoyed it more than most of the newer films I've seen, but I think it could have been better, perhaps with better editing. Being very familiar with La Dolce Vita I think enhances appreciation of the film, as it does come off as a sort of re-filming of La Dolce Vita for an older, more jaded & more corrupt age. One thing I liked better than La Dolce Vita was the film's use of a person (women no less) of short stature as a central character, in contrast to Fellini's use of circus midgets as (almost prop-like) secondary characters. On the other hand, one thing I found distracting was the (current trend of films of the past 2 decades) was the over reliance on familiar music to develop emotional connection (particularly in this case, since I already owned at least 1/2 of the soundtrack already). In contrast to Nino Rota's original music, it seems a bit lazy to fall back on familiar pop music in a film. The other disappointment was that the cinematography was not as good as some of the raves I had read. I went to see it on a big screen in LA because I wanted to see it on film. However it was definitely digitally projected ( the resolution was a bit poor) & colors occassionally off.....I hope the original looks better than what I saw on screen.

[FrauBlucher]

The Great scores from Dr. Svet! I can't wait for this release.

[FerdinandGriffon]

Excellent piece by Michael Sicinski on Sorrentino, The Great Beauty, and its "dipsy-doodle kineticism".

[knives]

This is definitely one of Sorrentino's weakest attempts and certainly his weakest Italian feature. What makes this so frustrating is that on the surface this has great potential for being his best film as the romance of Rome is perfect for him. This at its best is pure tourism porn highlighting the mundane things which Sorrentino feels as unique like the nun children early on or how these great elements of Rome's character have become mundane because of their everyday. Again early on that shot of Servillo waking up and walking across the balcony as the coliseum stands in ruin behind him as ordinary as a tree is as perfect a shot as possible. Those moments which are too few in the film bring home how the movie could have been great rather then very good. The early going ons especially seem great to me as the plot hasn't really started to undermine the true purpose of the film yet.

Just another example of a great thing that fits with the mundane of Sorrentino's Rome: I adore how he dealt with the performance artist who Servillo absolutely despises. The scene brings together all of the best parts of the film. The wry humour, the architecture, the glee people have with the worst part of the mis-en-scene. It's fantastic and there are a few other scenes like that spread throughout (the walk to the strip club about an hour in is another instance), but the story which has already rightly been derided as typical and sentimental without purpose reduces this phantasm to nothing. I think the issue really can be summarized as Sorrentino missing the mark on which Felini to adapt. This seems as much a love letter to Felini's Rome as much as it is to the city proper so adapting tones and character elements makes sense, but having it primarily come from La dolce vita is not smart since that film is too dense with its own story and themes to adapt to something as radically different as what Sorrentino is doing here. He should have chosen Roma or even Nights of Cabiria since they are much more intimate to the ideas of Rome as a city where the fantastic and mundane mix to the point where they are indistinguishable. They probably would have also allowed the turns toward surrealism like the reoccurring image of the pool ceiling or the visit to the botox doctor to feel more organic. As is they clash horribly with the story and Sorrentino's hyperrealist style.

My being so down on the film isn't really a full reflection of my feelings, this is a very fun and enjoyable film which does achieve a lot of its potential. I like it much more then most of the dullard films coming out of the art scene nowadays. It's just not as good as a Sorrentino film should be.

[tenia]

It has a certain superficial aspect in the treatment of the overall feelings and discussions of its main characters, but it also has some quiet zen aspect well summed up in its end credits. Servillo's charisma also adds a lot.

[knives]

The ending is the one part where I do think that the narrative comes together with everything else. The whole thing with the nun while reduced in effectiveness by the rest of the film really brings home that acknowledgement of inadequacy that so often becomes a realization for Sorrentino's protagonists. In a way those quiet credits are reminiscent of the dull acceptance of the protagonist of Aronofsky's Pi though fortunately Servillo is spared having to drill a hole in his head.

[Lowry_Sam]

Just rewatched the Criterion last night as I'm rewatching Italian films to prep me (ie. trying to learn a bit of italian) for visiting Italy next month. My impression was a little bit better than when first seeing it in the theater, I guess stopping & starting (for bathroom & snack breaks), didn't diminish my engagement w/ the film & perhaps enhanced it (I think the editing style lends itself to that). While I still don't think it quite lived up to its potential, it's definitely a film I could rewatch multiple times (particularly in the hopes of learning some Italian). Went to IMDB & found out that an 172 min. extended cut screened recently. Wonder if Criterion will somehow pick this up. Someone was gracious enough to run down the differences on IMDB.

[markhax]

Just rewatched the Criterion last night as I'm rewatching Italian films to prep me (ie. trying to learn a bit of italian) for visiting Italy next month. My impression was a little bit better than when first seeing it in the theater, I guess stopping & starting (for bathroom & snack breaks), didn't diminish my engagement w/ the film & perhaps enhanced it (I think the editing style lends itself to that). .

I saw it in the cinema when it first came out and HATED it. Though I admired the cinematography, ! thought the film would never end. La Dolce Vita redux, in color. Yawn. About a year later a former student gave me the Criterion as a gift. My wife and I groaned. Then we watched it, and loved it. Go figure . . .

[rohmerin]

Me too, my first vision did not haunted me but in the second, I felt in love.

[rohmerin]

Learning Italian with Roman accent and words by Napolitan actors. Jesus, ¡vaya cojones! I admire your balls.
Instead of watching Tuscany actors and period films or previous to 1980 when direct sound was included in all ...

[rohmerin]

The integral version running 167 ' (PAL) has o out in Italy but only as DVD !!!

https://www.amazon.it/Grande-Bellezza-V ... +Integrale" onclick="window.open(this.href);return false;