Paolo Sorrentino, the maestro of sumptuous visuals and the architect of Italian maximalism, returns with his latest film, “Parthenope.” Known for his near-fetishization of beauty and a flair for the grandiose, Sorrentino delivers a cinematic feast that dazzles the senses while often leaving the soul unfed. While “Parthenope” is undeniably a spectacle, it struggles to find depth beneath its glossy exterior, falling into the familiar trap of style over substance.
“Parthenope” begins with the birth of its eponymous heroine in 1950, named after the ancient siren who, according to legend, bewitched Naples. As Parthenope (Celeste Dalla Porta) grows into a stunning young woman, she leaves a trail of mesmerized men and a shadow of tragedy in her wake, including her own brother, Raimondo (Daniele Rienzo). This early, scandalous incident sets the tone for the film’s exploration of beauty, desire, and the inevitable consequences they bring.
The narrative follows Parthenope through a series of encounters that shape her understanding of the world and her place within it. From the charmingly dissolute American author John Cheever (Gary Oldman) to aging Italian movie stars Flora Malva (Isabella Ferrari) and Greta Cool (Luisa Ranieri), each character nudges Parthenope toward different life paths, though none leave a lasting emotional impact. The most poignant relationship she forms is with her university professor, Devoto Marotta (Silvio Orlando), whose gruff wisdom and encouragement offer her a glimpse of a life beyond her beauty.
Orlando’s performance is a standout, providing the film’s most genuine moments. His dry humor and heartfelt advice, peppered with Billy Wilder quotes, bring a touch of authenticity to a film otherwise adrift in its own opulence. In contrast, Dalla Porta’s Parthenope, though captivatingly beautiful, often feels like a passive vessel, more observed than engaged, a reflection of the male gaze that permeates the film.
Sorrentino’s script, co-written with Umberto Contarello, attempts to infuse philosophical musings into Parthenope’s journey, but these often come off as overwrought and cliched. The dialogue, rich with flowery language, occasionally stumbles upon moments of clarity, such as a dismissive remark about young love, but these instances are too rare to elevate the film’s thematic ambitions.
Visually, “Parthenope” is a triumph. Cinematographer Daria D’Antonio captures the lush landscapes of Italy and the ethereal beauty of its protagonist with a painter’s eye. The striking costume work by Carlo Poggioli further enhances the film’s aesthetic appeal, creating a world that is as beautiful as it is superficial. Yet, despite its visual splendor, “Parthenope” feels episodic and meandering. The film flits from one lavish set piece to another, never lingering long enough to develop a coherent emotional arc. Sorrentino’s obsession with beauty becomes a double-edged sword, drawing viewers in with its allure while keeping them at a distance from the characters’ inner lives.
The decision to skip straight to Parthenope’s 18th birthday after her tumultuous childhood glosses over potentially rich narrative territory. Similarly, the film’s reluctance to critique the privilege of beauty such as Parthenope’s effortless academic success reveals a missed opportunity to delve deeper into its themes.
Gary Oldman’s brief, delightful turn as John Cheever and the cameos by Italian screen legends add flavor to the proceedings, but they are ultimately fleeting diversions in a film that struggles to anchor its narrative. The concluding sequences, featuring Stefania Sandrelli as an older Parthenope, hint at a life of wistful reflection but fail to provide the emotional payoff the story seeks.
In “Parthenope,” Sorrentino’s preoccupation with youth and beauty is evident, yet the film lacks the introspective depth of his previous works like “The Great Beauty” and “Youth.” Instead, it feels like a beautiful but hollow homage to ideals that the director has long been fascinated by but never fully deconstructs.
In conclusion, “Parthenope” is a visually stunning film that showcases Sorrentino’s undeniable talent for creating cinematic art. However, its heavy reliance on aesthetic beauty and familiar themes results in a narrative that feels more like a series of beautiful images than a cohesive story. While it offers moments of brilliance and strong performances, particularly from Silvio Orlando and Celeste Dalla Porta, it ultimately leaves viewers longing for more substance beneath its exquisite surface. Sorrentino’s latest may captivate the eyes, but it struggles to engage the heart and mind.