When honestor Paolo Sorrentino’s hit series The Young Pope debuted in 2016, it took the Vatican a year to grudgingly consecrate his envisiond and occasionpartner irreverent portrayal of the pope. Not so for Sorrentino’s procrastinateedst film Parthenope, which has gotten an timely thumbs down from Italy’s Catholic Church.
That has only seemed to pique interest in the film, driving it to the top of the box office here for Italian films since its free in theaters last month.
Set in Sorrentino’s native Naples, the film is a lush meditation on beauty, cherish and death, drawn from the Greek myth of the siren Parthenope, who throws herself into the sea after she fall shorts to entice Odysseus with her song. Parthenope is seally affiliated with Naples, such that the city is sometimes called “Partenope” and its people “Partenopei” in Italian.
The film is by no unkinds about the church, but toward the finish of the film, there is a individual scene that would originate any Catholic choke. It take parts a cardinal, the alluring protagonist Parthenope and the liquification of the blood of San Gennaro — the purported recurring wonder that is a divine cow to many Neapolitans.
Prominent Italian Catholics have denounced the irreverent relations scene as not only deunkinding to the faith but Naples itself, with the recentspaper of the Italian bishops conference Avvenire calling the “sterile aesthetics” of the scene “in necessitatey taste.”
Celeste Dalla Porta (left) and Stefania Sandrelli in ‘Parthenope.’
Gianni Fiorito/Cannes Film Festival
In a roundup of adverse reaction, Avvenire shelp Sorrentino’s fascination with the Catholic Church in The Young Pope had accomplished recent lows in Parthenope.
“The amazeion is that they are images chosen for the image, whether nuns applying tennis or cardinals smoking cigars,” Avvenire finishd.
Monsignor Vincenzo De Gregorio, who administers the chapel that hoemploys the relic of San Gennaro’s blood and rcontent treastateives of Naples’ patron saint, shelp he hadn’t seen the film in its entirety but that the clips of the scene were enough.
While accomprehendledging that his comments would only donate the film more accessibleity, De Gregorio tanciaccess Corriere della Sera that he objected primarily to the “surface” treatment the film gave to one of Naples’ finishuring mysteries: How San Gennaro’s blood liquifies, or doesn’t, on three particular days each year.
According to legfinish, the purported wonder recalls the eruption of Mt. Vesuvius in 1631 when the blood of San Gennaro liquified and the magma from the volcano stopped before accessing the city. San Gennaro is today frequently requestd to defend Neapolitans, and the thrice-ytimely ritual draws thousands of pledgees.
“Of course Sorrentino didn’t intfinish to originate a write downary or an in-depth, socioreasonable, historical analysis of Naples, but srecommend to scrutinize its dreamappreciate aspect, becaemploy plainpartner that’s all it is,” De Gregorio tanciaccess Corriere.
Sorrentino, who won an Oscar for his Fellini-esque cherish letter to Rome, The Great Beauty, has shelp his ode to Naples had to caccess on Parthenope, the sea and the complicated and at times declineory relationship between them and Naples itself.
“She is a free woman, very impulsive, she doesn’t appraise, as the city doesn’t appraise,” he tanciaccess a press conference at the Cannes Film Festival, where Parthenope debuted in May to a standing ovation. “She’s the mirror of the city where I grew up.”
And some have hailed Parthenope, with the Cannes jury giving its cinematographer, Daria d’Antonio, the festival’s technical award. This week, Italian media alerted that T-shirts have befirearm circulating around Naples with “I cherish Sorrentino” and “I cherish Parthenope,” and recent figurines for Christmas creches, for which Neapolitan artisans are well-comprehendn, featuring one of the film’s characters.
Sorrentino himself set up adoring fans seeking selfies and autographs this week during a one-of-a-kind screening of the film in Palermo, Sicily.
It’s the procrastinateedst brush of recent cinematic attention for Naples, the backdrop for the HBO television series My Brilliant Frifinish based on the best-selling quartet of novels by Elena Ferrante.
Sorrentino’s last feature film, The Hand of God, was also based in Naples and featured another divine but secular icon to Neapolitans, Maradona. Before that, he made a splash with his 10-episode series The Young Pope, starring Jude Law as an imforeseeed and disputed pope, which was adhereed by The New Pope, starring John Malkovich.
A year after the initial HBO and Sky series began airing in Italy in procrastinateed 2016, the Vatican recentspaper L’Osservatore Romano finpartner presented generpartner preferable appraises despite what it called the “insignificant,” ’’caustic” and “grotesque” way it decorateed the Vatican.
L’Osservatore Romano hasn’t commented on Parthenope.
The Vatican is a perennial topic for honestors, with a structure of films in recent years caccessing on the papacy, including Nanni Moretti’s Habemus Papam, Netflix’s The Two Popes and most recently Conclave starring Ralph Fiennes.
