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Viewed by Larry Gleeson. Writer/director Paolo Sorrentino unleashed a pilot of the first two episodes of a new, fictional, ten-part series titled, "The Young Pope," at the 73rd Venice International Film Festival.
Jude Law plays the central character, Lenny Belardo, aka Pius XIII, the first American Pope in history. Young and charming, his election seems to be the result of a simple yet effective media strategy on the part of the College of Cardinals. But appearances can be deceptive. Above all, in the place and among the people who have chosen the great mystery of God as the compass guiding their existence. That place is the Vatican and those people are the leaders of the Church. And Pius XIII proves to be the most mysterious and contradictory of them all. Shrewd and naïve, ironical and pedantic, primeval and cutting-edge, doubting and resolute, melancholy and ruthless, Pius XIII tries to cross the endless river of human solitude to find a God he can give to mankind. And to himself.
Sorrentino is bound to shock the sensibilities of some of his Catholic viewers with the imagery in the opening sequence. He opens with a baby in a dimly lit St. Peter's Square crawling over a sea of other babies until we see a man emerge from beneath the pile. A cut is made to Lenny awakening from a sleep and donning the attire of a Catholic Pope. As Lenny leaves his dressing area Sorrentino makes effective use of slow motion as he shows Lenny gracing the Vatican personnel with his presence. He glides across screen from left to right with non-diagetic music to the admiration and respect of the on-lookers until sitting upon his papal chair. He embodies a pious pose while envisioning a lovely topless blonde sitting in a green pasture as he presumably, as a young boy, looks on. He comes to and makes his way to the Papal Balcony where a deafening roar is heard from a rain-soaked crowd waiting to hear his Holiness. The rain stops, the clouds clear and the sun shines forth and again the crowd roars. Lenny as Pius XIII begins a most dynamic and appropriate speech on how he serves God and how he serves the audience before switching it up telling the audience to indulge in forbidden pleasures and desires including masturbation, gay marriage and a free and liberated lifestyle. At this point, his Secretary of State tells Pius he is not the Pope, that the Secretary of State is Pope and that Pius XIII is excommunicated. A cut is made to Lenny awakening from a sleep. From here Sorrentino takes the viewer on a wild ride as he delves into the psychological state of the young pope through moments of Belardo's introspection and through his interactions with his subordinates.
Cinematographer Luca Bigazzi creates a plethora of luscious visuals throughout the seamless shown. Laura Rosenthal and Annamaria Sambucco have complied a stellar cast. The cast does look the parts with thanks to the work of Carlo Poggioli and Luca Canfora. The musical score by Lele Marchitelli keeps pace with the action. The production design is exquisite and is handled by Ludovica Ferrario. The editing is seamless. Cristiano Travaglioli is credited with editing.
All in all, the Young Pope proved to be highly entertaining. Law brings style and swagger to the role of Lenny. Silvio Orlando brings to life the machinations and cajoling of Secretary of State, Cardinal Voiello and Cecele De France adds nicely to the film's rich cinematography in close ups as the Vatican Marketer Sofia Dubois. Last and certainly not least, Diane Keaton solidly depicts Sister Mary adding a much needed grounding presence as Sorrentino is not pulling any punches with his attempts for humor. Nevertheless, it is a delightful production with interesting dialogue and a dark, ominous and foreboding first Papal Speech.
My recommendation is don't miss a chance to see 'The Young Pope.' Go for it! God willing...
The Young Pope is a joint Sky, HBO, CANAL+ production and will be broadcast on Sky Atlantic in 5 countries: in Italy from October 21st, in UK, Germany, Ireland and Austria from late October, and in France on CANAL+ from late October.
Jude Law plays the central character, Lenny Belardo, aka Pius XIII, the first American Pope in history. Young and charming, his election seems to be the result of a simple yet effective media strategy on the part of the College of Cardinals. But appearances can be deceptive. Above all, in the place and among the people who have chosen the great mystery of God as the compass guiding their existence. That place is the Vatican and those people are the leaders of the Church. And Pius XIII proves to be the most mysterious and contradictory of them all. Shrewd and naïve, ironical and pedantic, primeval and cutting-edge, doubting and resolute, melancholy and ruthless, Pius XIII tries to cross the endless river of human solitude to find a God he can give to mankind. And to himself.
Sorrentino is bound to shock the sensibilities of some of his Catholic viewers with the imagery in the opening sequence. He opens with a baby in a dimly lit St. Peter's Square crawling over a sea of other babies until we see a man emerge from beneath the pile. A cut is made to Lenny awakening from a sleep and donning the attire of a Catholic Pope. As Lenny leaves his dressing area Sorrentino makes effective use of slow motion as he shows Lenny gracing the Vatican personnel with his presence. He glides across screen from left to right with non-diagetic music to the admiration and respect of the on-lookers until sitting upon his papal chair. He embodies a pious pose while envisioning a lovely topless blonde sitting in a green pasture as he presumably, as a young boy, looks on. He comes to and makes his way to the Papal Balcony where a deafening roar is heard from a rain-soaked crowd waiting to hear his Holiness. The rain stops, the clouds clear and the sun shines forth and again the crowd roars. Lenny as Pius XIII begins a most dynamic and appropriate speech on how he serves God and how he serves the audience before switching it up telling the audience to indulge in forbidden pleasures and desires including masturbation, gay marriage and a free and liberated lifestyle. At this point, his Secretary of State tells Pius he is not the Pope, that the Secretary of State is Pope and that Pius XIII is excommunicated. A cut is made to Lenny awakening from a sleep. From here Sorrentino takes the viewer on a wild ride as he delves into the psychological state of the young pope through moments of Belardo's introspection and through his interactions with his subordinates.
Cinematographer Luca Bigazzi creates a plethora of luscious visuals throughout the seamless shown. Laura Rosenthal and Annamaria Sambucco have complied a stellar cast. The cast does look the parts with thanks to the work of Carlo Poggioli and Luca Canfora. The musical score by Lele Marchitelli keeps pace with the action. The production design is exquisite and is handled by Ludovica Ferrario. The editing is seamless. Cristiano Travaglioli is credited with editing.
All in all, the Young Pope proved to be highly entertaining. Law brings style and swagger to the role of Lenny. Silvio Orlando brings to life the machinations and cajoling of Secretary of State, Cardinal Voiello and Cecele De France adds nicely to the film's rich cinematography in close ups as the Vatican Marketer Sofia Dubois. Last and certainly not least, Diane Keaton solidly depicts Sister Mary adding a much needed grounding presence as Sorrentino is not pulling any punches with his attempts for humor. Nevertheless, it is a delightful production with interesting dialogue and a dark, ominous and foreboding first Papal Speech.
My recommendation is don't miss a chance to see 'The Young Pope.' Go for it! God willing...
The Young Pope is a joint Sky, HBO, CANAL+ production and will be broadcast on Sky Atlantic in 5 countries: in Italy from October 21st, in UK, Germany, Ireland and Austria from late October, and in France on CANAL+ from late October.
Reviewed by Larry Gleeson. Gigola, directed by Laure Charpentier is a French film with subtitles set in the early 1960's Paris containing themes of adult sexuality and gender issues. The film made it's debut at the Cannes Film Festival. From there Gigola was shown at the Hamburg Film Festival in Germany and finished out the year at the Paris Gay & Lesbian Film Festival, in Paris, France. The mise-en-scene is in Gigola is remarkable. The costumes, make-up, and lighting are spectacular conveying images reminiscent of "That's Entertainment (1974), and "Moulon Rouge" (2001).
The film opens with a teenage school girl named George, played by Lou Dillon, as a young and slender coming of age debutante, and her teacher, an attractive mid 30ish woman. Playful background music provides energy for a highly sexually charged sensual transaction between George and her teacher.
Charpentier jumps ahead to 1963 Paris nightlife scene. George's boy friend has committed suicide. George has decided to withdraw from school and announces to the night-time partiers that she has flunked out of medical school seemingly intentionally.
Next time we see George she is in a Parisian bistro and we are introduced to a Carol Channing like character. George has reinvented herself.
A comment is made to George, "You look like a gigolo." George coolly replies, "Gigola." We now see George as Gigola, the name she has given her new self. A well-to-do matron comes to the bistro and Gigola is into action. Dressed in a black tuxedo, Gigola escorts the matron onto the dance floor for a spin. Soon the pair leave the bistro together and head to the matron's estate. With grace, elegance and a touch of class Gigola seduces the matron in an erotic bedroom scene with a snake-headed cane and white gloves.
Gigola, if nothing else, knows what she wants and she goes after it. She threatens to leave her new found matron unless she receives more money. The matron has already given Gigola a signet ring and a red MG convertible. The matron capitulates handing over to Gigola a large cache of currency. We now witness Gigola expanding her "business" with new girls working under her discretion.
Meanwhile, Gigola's father, an opium addict, is squandering away the family's estate as he cogently leads the life of a Parisian gentlemen. Eventually Gigola confronts her father brandishing a loaded revolver after repeatedly warning her father to stay away and, in turn, pleading with her mother to cut him off.
After an attempted suicide, Gigola finds herself under the care of a psychiatrist who bears a striking resemblance to her former teacher. She suggests having a baby to Gigola. Gigola is less than optimistic but the psychiatrist is able to connect with Gigola. Never one to miss an opportunity, Gigola deftly makes clear her intentions to the attractive psychiatrist. When the psychiatrist makes a "house call" Charpentier uses a wrestling take down move to portray the mixed emotions the psychiatrist has - she is attracted to Gigola but she is married and lives according to her principles as a married woman - a defining characteristic of the times. The psychiatrist cares about Gigola and they have dinner together where she tells Gigola that Gigola needs to let go.
Again without missing a beat Gigola moves deeper into the nightclub scene in Paris meeting a Mr. Tony Pasquale, a Sicilian. The two gain a mutual respect for each other and Tony ends up impregnating Gigola. Gigola has the baby and it seems as though Gigola has accepted normalcy and is conforming to societal norms. Gigola has left and George has come back.
However, before a sigh of relief can be expressed, in tromps the cast from the bistro. A raucous scene ensues in the hospital room with Gigola consenting to have her locks cut - a symbol of Gigola's re-emergence.
The film closes with Gigola adhering to her somewhat circular, misguided idealism. She has turned over the care of her child to her mother and she is shown in tuxedo walking down a Parisian cobblestone alley way with her back back to the camera just before sunrise.
Amazing film for the right audience.
The film opens with a teenage school girl named George, played by Lou Dillon, as a young and slender coming of age debutante, and her teacher, an attractive mid 30ish woman. Playful background music provides energy for a highly sexually charged sensual transaction between George and her teacher.
Charpentier jumps ahead to 1963 Paris nightlife scene. George's boy friend has committed suicide. George has decided to withdraw from school and announces to the night-time partiers that she has flunked out of medical school seemingly intentionally.
Next time we see George she is in a Parisian bistro and we are introduced to a Carol Channing like character. George has reinvented herself.
A comment is made to George, "You look like a gigolo." George coolly replies, "Gigola." We now see George as Gigola, the name she has given her new self. A well-to-do matron comes to the bistro and Gigola is into action. Dressed in a black tuxedo, Gigola escorts the matron onto the dance floor for a spin. Soon the pair leave the bistro together and head to the matron's estate. With grace, elegance and a touch of class Gigola seduces the matron in an erotic bedroom scene with a snake-headed cane and white gloves.
Gigola, if nothing else, knows what she wants and she goes after it. She threatens to leave her new found matron unless she receives more money. The matron has already given Gigola a signet ring and a red MG convertible. The matron capitulates handing over to Gigola a large cache of currency. We now witness Gigola expanding her "business" with new girls working under her discretion.
Meanwhile, Gigola's father, an opium addict, is squandering away the family's estate as he cogently leads the life of a Parisian gentlemen. Eventually Gigola confronts her father brandishing a loaded revolver after repeatedly warning her father to stay away and, in turn, pleading with her mother to cut him off.
After an attempted suicide, Gigola finds herself under the care of a psychiatrist who bears a striking resemblance to her former teacher. She suggests having a baby to Gigola. Gigola is less than optimistic but the psychiatrist is able to connect with Gigola. Never one to miss an opportunity, Gigola deftly makes clear her intentions to the attractive psychiatrist. When the psychiatrist makes a "house call" Charpentier uses a wrestling take down move to portray the mixed emotions the psychiatrist has - she is attracted to Gigola but she is married and lives according to her principles as a married woman - a defining characteristic of the times. The psychiatrist cares about Gigola and they have dinner together where she tells Gigola that Gigola needs to let go.
Again without missing a beat Gigola moves deeper into the nightclub scene in Paris meeting a Mr. Tony Pasquale, a Sicilian. The two gain a mutual respect for each other and Tony ends up impregnating Gigola. Gigola has the baby and it seems as though Gigola has accepted normalcy and is conforming to societal norms. Gigola has left and George has come back.
However, before a sigh of relief can be expressed, in tromps the cast from the bistro. A raucous scene ensues in the hospital room with Gigola consenting to have her locks cut - a symbol of Gigola's re-emergence.
The film closes with Gigola adhering to her somewhat circular, misguided idealism. She has turned over the care of her child to her mother and she is shown in tuxedo walking down a Parisian cobblestone alley way with her back back to the camera just before sunrise.
Amazing film for the right audience.
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