A film like a colorful cloth in a light summer breeze. Nice, but boring.
Photo: Gianni Fiorito
Director Paolo Sorrentino is obsessed with youth, beauty and transience. After the Fellinesksen “La Grande Belezza-The Great Beauty” about an aging journalist in Rome in 2013, who received an Oscar for the best foreign language film, the tragicomedy “Eternal Youth” for two pleasure circles and 2021 of the autobiographical Netflix production “The Hand of God” now a drama about the life of Beautiful Neapolitaner Parthenope.
Once again photographed so exquisite that you have the feeling that you are in an overly long advertising film by Yves Saint Laurent, the newcomer Celeste Dalla Porta cut sparse clothes. Or maybe also in an oversized advertising cover for cigarettes, because in the drama that celebrated its premiere in Cannes in 2024, almost as much is smoked as in the films of the Nouvelle Vague.
In 1950, a wealthy girl was born in the glittering water of the Bay of Naples and baptized the historical name of the city. He has its origin in the legend that the siren Parthenope did not succeed in giving up the clever Odysseus, which is why she plunged into the sea with her sisters and was washed up dead in the Bay of Naples.
Once again photographed so exquisite that you have the feeling that you are in a long advertising film by Yves Saint Laurent.
As if the director could not expect to present his curvy beauty, the 18-year-old parthenope-like the foam-born Venus-also emerges to the floods. Like her namesake, she began to smile at all the men who, unfortunately, hits her smile – unanimously until the end of the film. Sometimes she lasciviously and smoking on the balcony, then dreamy again on the bed or on the beach. Occasionally even in slow motion!
Even her brother Raimondo (Daniele Rienzo) fell into expression with skin and hair, but temporarily pulls the loser next to the son of the housekeeper. The Raimondo, which, like all the figures, has undermined the sub -complexes in the course of the film.
Camerafrau Daria d’Antonio looks at parthenopes, which with its beauty all brings the mind, exclusively with the male gauze, that is, the perspective simulates the male look, which is difficult to bear in 2025. In the pitiful attempt to get rid of the obvious allegation of objectification, Sorrenino therefore never fully shows his protagonist and also encloses extraordinary wisdom and quick wit.
At Parthenope begins with the grumpy Professor Devota Marotta, who is credibly embodied by Silvio Orlando to study anthropology and is already deeply impressed by the entrance exam. From then on they feel connected for a lifetime-of course purely human-intellectually. Towards the end, the professor is still presenting her to his son, born with serious malformations, who is reminiscent of Baron Harkonen from “Der desertplanet” and whom he took care of for a lifetime. Parthenope finds him beautiful, of course – another bizarre attempt by Sortino to give his superficial film depth.
Parthenopes clichéd faithinal for problematic men, however, is by no means always platonic; In the course of the episodic film, she feels drawn to the alcoholic writer John Cheever, who – as well as possible – is nuanced by Gary Oldman. But Cheever resists her advances, because he is gay and anyway too melancholic to jump on her sexual stimuli. In contrast to the Bishop of Naples, the Parthenope visits research purposes to study the blood miracle of San Gennaro.
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The greasy bishop floats about beauty and transience-pseudo-intellectual discourses go through the entire film. “There is rarely a woman like you who does not use her godly beauty,” the bishop drives up, shortly afterwards, in order to finger the parthenopes hung with Christian jewelry shortly after all seriously. Disgusting.
Perhaps Parthenope should have become an actress after all, which was her alternative plan, but which was driven out by a beauty teacher and a disillusioned diva.
After 137 minutes of glossy sequences from the parthous powder in Sorrentino’s hometown Naples and her admirer herself, you get to learn at pace that the aged beauty has remained alone and has become a professor of anthropology. For a long time, the fate of a film character was so little interested. In the meantime, one has in the meantime it has been added to whether it would not be time for a vacation in Italy.
Once the writer Cheever says to Parthenope: »Beauty is like war. It opens doors. «By no means, you want to counter Sorrentino: Beauty is like peace. It comes from the inside.
»Parthenope«: France, Italy 2025, directed by Paolo Sorrennino. With: Celeste Dalla Porta, Stefania Sandrelli, Gary Oldman. 137 minutes, start: April 10th.
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