As a lifelong resident of Naples and an avid fan of Italian cinema, I must say that Paolo Sorrentino’s latest film, “Parthenope,” has struck a chord with me like no other. Having grown up in the city that is synonymous with the mythical figure of Parthenope, I can’t help but feel a profound connection to this lush and dreamlike portrayal of my hometown.
When Paolo Sorrentino’s popular series, “The Young Pope,” was first released in 2016, it took the Vatican a whole year to reluctantly approve his creative and at times controversial depiction of the pope. However, for Sorrentino’s latest film, “Parthenope,” Italy’s Catholic Church has already expressed early disapproval.
The movie has sparked considerable curiosity among viewers, causing it to become the highest-grossing Italian film at the box office since its cinema debut a month ago.
The movie, based in Naples, where Sorrentino was born, delves into themes of beauty, love, and mortality, inspired by the ancient Greek myth of Parthenope, a siren who plunged into the sea after she couldn’t charm Odysseus with her music. In Italian, Naples is often referred to as “Partenope” and its inhabitants as “Partenopei,” reflecting this close association.
The movie doesn’t focus on the church at all, but towards its conclusion, there’s a scene that might shock any Catholic. This scene features a cardinal, the enticing character Parthenope, and an event involving the supposed liquefaction of San Gennaro’s blood – a miracle often considered sacred by many Neapolitans.
Notable Catholic figures from Italy have criticized a disrespectful sexual scene, stating that it not only dishonors their faith, but also the city of Naples. The newspaper Avvenire, which represents the Italian bishops conference, described the “unproductive aesthetics” of the scene as being inappropriate and lacking taste.
In a summary of critical responses, Avvenire noted that the portrayal of the Catholic Church in “The Young Pope” by Sorrentino hit fresh lows in “Parthenope”. (This version attempts to maintain the original structure and meaning while making it easier for readers to understand.)
Avvenire observed that the selections appear to be based on the visual appeal rather than the subject matter itself; for instance, depictions of nuns playing tennis or cardinals puffing cigars.
Monsignor Vincenzo De Gregorio, responsible for the chapel containing the relic of San Gennaro’s blood and other sacred artifacts of Naples’ patron saint, stated that he hadn’t watched the whole movie yet, but brief glimpses of the scene were sufficient.
As a fervent admirer, I couldn’t help but voice my disagreement with De Gregorio when he spoke to Corriere della Sera about the film. The issue at hand wasn’t just about the publicity it would generate; rather, it was primarily the shallow portrayal of one of Naples’ profound enigmas that troubled me most: the intriguing annual event where San Gennaro’s blood either liquefies or remains solid on specific days.
As a devoted admirer, I’m captivated by the age-old tale that echoes the rumored miracle surrounding Mount Vesuvius’s 1631 eruption. It is said that when the volcano threatened to engulf Naples, the blood of San Gennaro miraculously liquefied, halting the magma’s advance. Today, San Gennaro is revered as a guardian angel for Neapolitans, and his thrice-yearly ritual attracts multitudes of devoted followers.
In essence, De Gregorio stated that Sorrentino didn’t plan to create a documentary or an extensive sociological, historical study of Naples. Instead, his aim was merely to explore the dreamlike quality that characterizes the city itself, according to his perspective.
In a natural and easy-to-read paraphrase, Sorrentino, who was awarded an Oscar for his Fellini-like tribute to Rome in the film “The Great Beauty”, has expressed that his tribute to Naples needed to center around Parthenope, the sea, and the intricate and sometimes paradoxical bond between them and the city itself.
He stated during a press conference at the Cannes Film Festival, where the movie ‘Parthenope’ premiered in May to a standing ovation, that she is a free-spirited woman who doesn’t judge, much like the city she reflects, which was where he grew up.
Some have celebrated the movie “Parthenope,” as it received the technical award at Cannes from the jury. This week, Italian news outlets mentioned that T-shirts saying “I love Sorrentino” and “I love Parthenope” are being worn in Naples, and new figurines for Christmas nativity scenes (which Neapolitan artisans are known for) have been created, showcasing one of the film’s characters.
This week at a special screening of the movie in Palermo, Sicily, the film’s director, Sorrentino, was surrounded by enthusiastic fans who wanted to take selfies and get his autograph.
Currently, Naples is basking in the limelight as the scenic setting for the hit HBO TV show “My Brilliant Friend”, which is adapted from Elena Ferrante’s critically acclaimed four-book series.
Sorrentino’s latest movie, titled “The Hand of God“, shares its location with Naples, and it centers around the iconic figure of Maradona, who holds a sacred yet secular status for Neapolitans. Previously, he gained significant attention with his 10-episode series “The Young Pope“, which had Jude Law portraying an unconventional and contentious pope, and was subsequently followed by another series titled “The New Pope“, starring John Malkovich.
Approximately one year following the debut of the HBO and Sky series within Italy in late 2016, the Vatican newspaper L’Osservatore Romano eventually presented generally favorable appraisals, albeit with some reservations regarding its perceived “light-hearted,” “critical,” and “absurd” portrayal of the Vatican.
L’Osservatore Romano hasn’t commented on Parthenope.
For many film directors, the Vatican has been a recurring subject of interest, with several movies in recent times delving into the papacy. Notable among these are Nanni Moretti’s “We Have a Pope”, Netflix’s “The Two Popes”, and most recently, “Conclave” featuring Ralph Fiennes.
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2024-11-07 06:55