Silvio (y los otros)

Greetings again from the darkness. Silvio Berlusconi is a former Prime Minister of Italy, having served four times. He is also a billionaire businessman who has been deeply involved with Italian politics for more than 20 years. Berlusconi is in his 70's and has been convicted of tax fraud, accused of conflicts of interest, and is well known for his brash and charismatic personality, as well as his scandalous personal lifestyle and numerous controversies. None of that is required information prior to watching the movie since it's described as a "fictional" account, but it does help to have a basic understanding of the man.

It should be noted that the film was originally released as Part 1 and Part 2. The international version I watched has been edited to 151 minutes, almost one hour shorter than the two parts combined. It begins by following Sergio Morra, a charming hustler and schemer played by Riccardo Scamarcio (JOHN WICK 2). Along with his wife Tamara (Euridice Axen), he runs a prostitution and escort ring of beautiful young ladies ... each willing to show and do whatever is necessary to obtain money, drugs, and a career or rich husband. It becomes apparent that Sergio really wants a chance to meet with "him", Silvio Berlusconi, in hopes of some type of business partnership. Sergio's meeting with Silvio's lead mistress Kira (Kasia Smutniak) cracks the door that he so wishes to enter.

Sergio throws a party at Villa Morena, the home next to Silvio's sprawling Sardinia country estate. Decadence and wild activities abound, as does dancing by the swimming pool to the thumping Italian techno music. There seem to be no rules, or even etiquette, at the party where nudity, drugs and booze are commonplace. The party gets Silvio's attention and he agrees to meet with Sergio. It's at this point where the film shifts to its second narrative. No longer focused on Sergio, the story becomes all Silvio.

Toni Servillo delivers a tour de force as Silvio Berlusconi. Sure, he is masked in make-up to capture the look of someone trying hard to look younger than they are - but that's exactly what Silvio did (and does). Mr. Servillo manages to become the larger-than-life figure that commands attention in every crowd and every room. Elena Sofia Ricci plays Veronica Lario, Silvio's wife. We witness their crumbling marriage and the unhappiness she has each day. Silvio's process with everyone, including his wife, is to shift into smooth political salesman mode. In fact, one of the greatest scenes of all movies this year has Silvio re-capturing his early days as a real estate salesman as he pushes a non-existent apartment on a lonely housewife. The scene features fascinating acting, writing and filmmaking in one fell swoop.

Director Paolo Sorrentino is best known for his Foreign Language Oscar for the fantastic THE GREAT BEAUTY (2013). This film is more extreme and harsh than that one was, and Sorrentino co-wrote this script with Umberto Contarello. Frequent collaborator Luca Bigazzi delivers terrific cinematography. At times the film looks like one lavish fashion shoot. The score and music come from Lele Marchitelli and play a crucial role throughout. Italy is presented here as having declined into a state of hedonism with mass debauchery. It's uncomfortable watching women stoop to these levels in hopes of being recognized and rewarded with some type of affirmation - either a better career, more wealth, or whatever their dreams might be. A powerful man is there to take advantage of such insecurities. The film touches on Silvio's political power and the aftermath of the L'Aquila earthquake. Much of the film focuses on the overall amorality of those involved, and though the actions of these folks might go against our own standards, we will admit that filmmaker Sorrentino has a knack for making something so vulgar still look darn good on screen.

Just a brilliant movie that seeks to explain Berlusconi (him, him), why people want to get next to him, why people want to get away from him and what he ment to (some) of the people.

Sorrentino is on top form with extravagant dance/fantasy pieces, biting symbolism and a superb performance by Tony Servillo at its centre.

Wonderful production values, from the costumes, lighting, sets and supporting cast.

A must see, that can summed up by one of the end scenes when Berlusconi finally lights his volcano garden ornament that he has been threatening to do all film and all we see is a sad display that makes us feel the same way about him, him. 'Is that all there is to it?'

This film was definitely a wild one. It starts out very strong and I really liked the direction it went with early on. The momentum was great however it did start to dissipate. I think this is due to the overwhelming conflicts that were developing throughout the movie. The film has multiple layers that seem to overlap one another, and although interesting it was also confusing. There were some really epic scenes, and the overall vibe was very fun, so I did enjoy watching the film. That being said it still leaves you kind of scratching your head. It is hard to find the overall artistic direction or message behind the film.

"Why can't I run the country like I run my business?!" asks the head of government. The current U.S President? No. It's a line attributed to Italy's Silvio Berlusconi (as played by the brilliant Toni Servillo). The association between the two leaders is intentionally unmistakable in Paolo Sorrentino's sprawling LORO. A bit of knowledge of Italian politics over the past couple of decades, and, Berlusconi in particular, is helpful here. Doubly so, because LORO was released overseas in two parts (the USA cut, 151 minutes, is about 50 minutes shorter than LORO I & II combined). It takes until almost the half-way point before Berlusconi is even mentioned directly (he's referred to as "lui, lui" (him, him) or, on occasion as "Silvio"). The movie is set mainly between the second and third terms of Berlusconi's rule circa 2006-2008. The first half of the movie revolves mainly around Sergio (Riccardo Scamarcio; from JOHN WICK 2) a wannabe political insider who uses guile and the lure of women to get into Berlusconi's orbit. The central bait are modern Bacchanalian extravaganzas often referred to as 'Bunga Bunga Parties' where dozens of nubile women are recruited with the lure of drugs, sex and access to power. Even though Berlusconi himself doesn't appear, Servillo enters playing another character, Ennio, a confidant of the now out of power Prime Minister. Once Berlusconi himself enters, LORO becomes much stronger and more effective. Servillo is a superb actor and he imbues the movie with a strength and and a sense of purpose that brings focus to some of Sorrentino's flamboyant filmmaking. The Director's screenplay (co-written with Umberto Contarello) also becomes more cogent with Berlusconi's Machiavellian maneuvers getting constantly called out by his detractors, including his own wife Veronica (Elena Sofia Ricci; very good). LORO's current cut doesn't help an already episodic structure. As always, Sorrentino gets excellent mileage out of his cinematographer (Luca Bigazzi), and his music choices are compelling. The sheer amount of beautiful bodies on display here is eye-popping (even if it creates its own kind of hypocrisy -- the movie wants to critique the superficial, while often wallowing in it). There's a criminally under-seen Documentary, 2009's VIDEOCRACY where Director Erik Gandini traces how Berlusconi's media empire worked on dumbing down the Italian public with his flashy empty - and very sexed up - TV programming. LORO is strongest when it depicts that corruption of power over the public (in Italian, the title translates alternately as "them" and "gold"). Berlusconi metes out a few morsels to "them" while he collects the "gold". The best scene in the film outside those with Berlusconi comes at the very beginning with a sheep watching one of the leader's vacuous TV programs. Toni Servillo's brilliant performance as Berlusconi carries Sorrentino's uneven epic

The film is visually very beautiful. The scenery, sets and costumes are all visually striking. The story is rather thin though. It is more like a collage of hedonistic scenes with great style.