It was the hand of God is the new and last test that Sorrentino offers about his carnal theology. On paper is a presumably radical change in the filmography of it. Two decades ago he presented in Venice 'the man's most' and now a man returns made. "They have always been looking for me, not making personal movies," says the director as a presentation and excuse. And, the truth is, it is not clear that this is true. Indeed, responsible for 'the great beauty' or 'il Divo' always uses a third party to tell your story, but, shortly that you look closely, the story that arises is nothing more than the same variation of an obsession called Sorrentino.
The novelty now consists in that this new film seems and is as soon as autobiographical. His protagonist wants to be a variation in young filmmaker himself, everything runs in Naples and the central event that everything disorderly was responsible for Paolo Sorrentino as Paolo Sorrentino. As a young man, when he had barely finished school, the parents of him died in a domestic accident because of a carbon dioxide escape. He did not traveled with them to the country house where everything happened to stay to see Maradona. And he was saved. Who knows if it was not the same hand that He put the goal to England in the World Cup in Mexico who condemned him to be the one who is today.
"I do not think the pain is enough to make a movie or a creation. Without a doubt, it has been painful to write the script and revive everything, but then other elements come," says the director to get away from him and the audience the bad thoughts. 'It was the hand of God' it is not even wanting to be a relief, not even a catharsis. It is simply a brilliant, delicate and emotional film of Sorrentino. And carnal.
Says Paolo Sorrentino who believes in the almost divine nature of Maradona. And he says, someone who has dedicated more than 20 hours of Pope himself, Al of Rome. That after taking care of a pantheon of saints who go from Giulio Andreotti to Berlusconi passing through the Prince of the Jep Gambardella defeats. All of them perfectly carnal divinities, when not simply diabolical. Let's say that the Italian knows what he talks about. In the Santoral, which makes up the filmography of him, the Spirit, whatever, always and unavoidably becomes flesh. The spirit is flesh. And it is for Napolitan, for 'Felliniano' and even by Salesian.
The belt counts and recounts the spirit that is also a meat of a childhood with a father (toni servillo), a mother (Teresa saponangelo), a mother (Teresa saponangelo), a mother and an endless family with an indisailed tendency to obesity. Everything is meat from meat. 'It was the hand of God' sew anecdotes on memories, experiences about sensations, erections on erotic games, and thus even compose the touched plot of a whole life with salt smell and extended sex on the screen. It is fun with the same clarity that tragic; It is profound for leaving everything in view on the surface; It is the best reading of Fellini's legacy at Costa del Fellini himself. It is perfectly sorrentino.
If you want, the tape plays recomposing the memory scenario as if of a labyrinth of mirrors it was. Everything is true with the same evidence that nothing escapes to fabumin. If it had to draw the geography of Italy through the memories of its filmmakers, but further north would be the Emilia-Romagna de 'Amarcord' by Fellini, further south La Roma de Rossellini or Pasolini and, now, below yet, The magical Naples and, again, carnal of Sorrentino.
Of course, Maradona is the ghost that encourages everything with his miraculous signing, his prodigious goal, his providential hand and his holy southern perseverance. Maradona is meat and, therefore, in the director's ideology, he is God. "I want to believe that 20 years ago I started and now, with this movie, recommend", concludes Sorrentino reincarnated meat in flesh. Amen.
Date Of Update: 04 September 2021, 14:50
