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Arts & Culture, Film, The CriticsSeptember 25, 2013

A Whiff of the TIFF: Sorrentino’s The Great Beauty

By Daumoun Khakpour

Copyright © 2013 Indigo Film, Medusa Film, Babe Film

Copyright © 2013 Indigo Film, Medusa Film, Babe Film

It doesn’t take long to fall in love with The Great Beauty. Its rhythm-filled, yet chaotic opening — on a rooftop patio as a bunch of higher class elitists unwind with choreographed dancing, copious amounts of alcohol, and infectious music — reminds one of Baz Luhrmann, although Paolo Sorrentino’s film is not just a glossy veneer smeared across the screen hoping to appeal to as few senses as possible. The Great Beauty consists of a gorgeous series of vignettes, loosely cobbled together as it follows Jep Gambardella, a successful writer, who, after turning sixty-five starts to suffer an existentialist crisis, wondering why he never wrote a second book. It could be argued that the city of Rome is another main character — Mr. Sorrentino unabashedly shows his love for the city, gliding, tracking and moving through a slew of iconic locations and historic monuments. Not once, in its two-and-a-half hour run time, does anything fall into visual monotony. Sorrentino’s eye is incredible, and while the common habit seems to have become looking at the negative aspects of Italian society and how it got to be that way, Sorrentino focuses more on the positives.

Jep, much like the city, is going through a transition, both propped up by what they believe makes them happy — an empty, repetitive lifestyle as once iconic religious and cultural symbols start to decline. An arrogant and single-minded priest embodies this metaphor; a character who while many believe is the next pope, hasn’t truly ascended or showed any signs that he would. But this film carries optimism, hinting that Italy will come out on the other side happier and better as soon as they find out who they are and accept what truly makes them happy.

Despite this seemingly unlikely mixture of elements, the film is surprisingly funny, either through the absurd Fellini-like scenes, or the casual banter between characters. Toni Servillo makes a fantastic Jep, adding as much to the character with his small, barely noticeable facial expressions and his big, soulful eyes. The film does have its flaws though. The metaphors and allegories in the film start to become more blatant, particularly in one scene where the themes of finding your “roots” and “migration” are beaten into the audience. With this said, The Great Beauty is a nearly great film, which fully utilises its historic locations through mesmerising cinematography and direction, well-rounded acting, and a unique score.

Daumoun Khakpour is Contributing Editor for Film for the magazine.

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Daumoun KhakpourPaolo SorrentinoThe Great BeautyTIFF 2013

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One last love letter...

April 24, 2021

It has taken us some time and patience to come to this decision. TMS would not have seen the success that it did without our readers and the tireless team that ran the magazine for the better part of eight years.

But… all good things must come to an end, especially when we look at the ever-expanding art and literary landscape in Pakistan, the country of the magazine’s birth.

We are amazed and proud of what the next generation of creators are working with, the themes they are featuring, and their inclusivity in the diversity of voices they are publishing. When TMS began, this was the world we envisioned…

Though the magazine has closed and our submissions shuttered, this website will remain open for the foreseeable future as an archive of the great work we published and the astounding collection of diverse voices we were privileged to feature.

If, however, someone is interested in picking up the baton, please email Maryam Piracha, the editor, at maryamp@themissingslate.com.

Farewell, fam! It’s been quite a ride.

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