Hand of God: Movie Review (No Spoilers)

 

By Michael Momper

    Paolo Sorrentino is a modern cinema mastermind. His eye for beauty and grandeur is perhaps unmatched in the film world today, as most clearly evidenced in his movie The Great Beauty and his television series The Young Pope. Every frame is a work of art, full of rich color and sumptuous textures. His work is styled from the template of his idol, Federico Fellini, and the quality of his films are not far off. Dare I say, I enjoyed The Great Beauty even more than any of Fellini's films, many of which are masterpieces. Even from a glance at the trailer of his latest film, The Hand of God, you will get a taste of the striking beauty we are talking about here.

    Sorrentino's latest film is a passion project, a semi-autobiographical tale. It tells the story of a young boy, Fabietto, who comes of age through tragedy and myriad shifts in life direction to begin pursuing the art of filmmaking. As the title suggests, throughout the film we get an intense feeling of the spiritual realm working its way through the material world. There is a very magical or mystical element at play here, shown by the ethereal beauty of some of the shots of Naples but also through some of the odd characters, like a tiny monk who is rumored to be able to cure reproductive diseases through touch. Like a lot of Sorrentino's work, there is a quirky strangeness to a lot of these characters. This is a world full of tender elders, goofy townsfolk and stooges. Like the characters and the frames surrounding them, it is a world full of color. 

    This movie is a commentary on the romance and magic of cinema. There is a spontaneous, lyrical quality to the pacing and transitions. It is like a dance or a grand symphony, but seemingly more improvisational and patchworked than his more pointed work like The Great Beauty. There is a richness to the atmosphere that allows you to escape to the town he so clearly loves and remembers well. And isn't that what films are for? This movie is firing on all cylinders when it addresses these bigger questions, and when it beckons us to look on in awe as a young Paolo Sorrentino once did.

    The meandering and spontaneous nature of the film is in some ways a detriment however, as compared to some of his other work. At times, the plot seems to spin around with such dreamy laziness that it is easy to lose focus. When we lose sight of Fabietto's crises of conscience and vocation for too many scenes in a row, it leads you as the viewer to care a little less. I found a few times that I was taken out of the plot because of breaks in the pacing and structure that seemed a bit too long. This frustrates viewers occasionally because it reduces the dramatic tension and makes them less invested in the trials of the main character. Like a jazz musician, however, any bit of improvisational riffing Sorrentino did in Hand of God  did end eventually with him back on his feet, so at least it often paid off to stay on this journey with him.

    If you are new to Sorrentino, I would suggest checking out The Great Beauty first. It is a superior film, and possibly his most important work. If, afterwards, you find that you enjoy his style, you will surely enjoy The Hand of God. Prepare for something full of breathtaking views. Prepare for intimate storytelling and dialogue. Prepare to come away with a better understanding of the man himself, Paolo Sorrentino. 

Rating: 80/100