by Shane Conto, Staff Writer
What are you thinking about? This is certainly the question to ask in Paolo Sorrentino’s Parthenope. What can possibly be going on in the head of our strikingly gorgeous and mysterious protagonist, the titular Parthenope? A woman born in the sea, who would grow up to be a walking Venus in our meek mortal world. A vapid and vibrant life is what Parthenope leads, until a tragedy shatters her illusions and kills the life behind her eyes. Sorrentino delivers a sprawling Italian adventure through all walks of life and strange occurrences that shape who Parthenope will someday become.
Off the bat, Celeste Dalla Porta is the crown jewel of Parthenope. A revelation. A true diva. Alluring as any. There is something special about Dalla Porta’s performance. This film would not work at all if it were not for here. There is so much in every one of her stares. Whether it is seductive, contemplative, judgmental, curious, or empty, Dalla Porta’s stares are pregnant with emotion and meaning. Parthenope must be aggressively beautiful to meet the expectations of what Sorrentino is going for. Well… she nails that too. Parthenope is generally three different versions of herself in this film. She starts as a young woman who is full of endless joyousness, zeal, and lust. Then, tragedy leaves her empty and distant. By the end, Parthenope finds herself reaching some semblance of balance, with a more level and realistic outlook on the world. Dalla Porta channels each of these experiences perfectly. This actor is a star in the making.
Yet Sorrentino himself is the other star of Parthenope. His style and voice as a director are so bold and vibrant. This works so well for the opening act of the film which finds Parthenope living a life of lust and vapidity. Additionally, the colors are incredible, and the framing and blocking are pristine. The film just has a bold and campy energy to it, buttressed by a poignant atmosphere of lust. (But why would this film be so horny? Well, it is Italian.) There is an eroticism that permeates throughout the opening act — it soldiers on through the darker turns in the story (a sequence with Parthenope and an older priest did not need to be that erotic, but there is no stopping Sorrentino), but then a tragedy strikes, shattering Parthenope’s life.
The latter acts of the film purposefully lose their vibrance and luster, which leaves you missing the energy of the first act. Some of the latter parts of the film are effective, but Sorrentino loses his journey a bit along the way. There are filmmaking elements that deliver in these sections, but something just hits early on, and it is missed in the back half.
But the biggest question about this film is, what is it even about? On the surface, it’s about a woman who is growing. She has her light and airy phase without the worries of the world around her. She can sit and read philosophy, tempt all men (including her own brother… which is weird), and bask in her beauty all day. Then she has her rude awakening, and must find herself again through pain and wandering. Once she finds herself, she can once again deeply connect with the world around her. This arc makes plenty of sense, but its actual beats struggle to cohesively express the message. There are whole stretches of the film that struggle for purpose and engagement. For instance, an awkward date to a ceremonial first act of intercourse in front of both partners’ families certainly takes the cake.
There are so many great scenes in the film, but many struggle to be more than just segments in a scattered narrative. Luckily, they mostly have their own merit and meaning. Sorrentino’s film is about a lot… maybe too much.
The finishing trappings of the film is quite a quality supporting cast. First off, Gary Oldman is a drunken expat author in the Mediterranean. What else do expat authors do besides get drunk in exotic locales? Either way, Oldman sells his limited appearance. Silvio Orlando portrays the dry and walled-off professor who inspires so much in Parthenope. Orlando’s performance nails his character’s vibe perfectly. Luisa Ranieri is hilarious as quite the opinionated and powerful diva. Isabella Ferrari sells her acting teacher role so well with wit and confidence through masks, veils, and steam. Peppe Lanzatta deftly crafts a seductive elder statesman of the Church. He is exactly what you expect out of an aging Italian man in the clergy who still pines for the flesh. From the start, Alfonso Santagata steals every scene with his boisterous energy, horny charm, and great sense of humor. Parthenope is stacked to the gills with charismatic, engaging, and memorable characters.
It’s a stretch to say Sorrentino crafted yet another beautiful masterpiece. There is so much to love in Parthenope, but that might be one of the most frustrating elements of all. Some of it is just so perplexing and disconnected. Sorrentino has crafted films more consistent and cohesive than this one, but at least he brings plenty of life to it. When all is said and done, Dalla Porta is the true star of this gorgeous, horny, expansive tale.
Rating: Liked It
Parthenope is currently playing in theaters
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