Sorrentino didn’t come to the movie business to play. He came to experiment with the versatility of his cinematic idiosyncrasies. Looking at his filmography, no film is similar to the next one, but looking at Il Divo alone, no scene is similar to the next one.
- It opens with a pumped-up, stylish and energetic Guy-Ritchie-like mafia vibe.
- It continues, though very briefly, like early Coppola’s approach to crime organization.
- It develops the whole story with tones of Bertolucci’s Il Conformista (1970), with the camera dynamism and fractured dreamlike editing of Fellini’s 8½ (1963).
Sorrentino’s approach to the psychological downfall of Giulio Andreotti, the seven times Prime Minister of Italy, is unique. The catastrophe is evidently more explicit…