When I heard that Paolo Sorrentino’s La Grande Bellezza (The Great Beauty, 2013) was “Felliniesque,” that didn’t recommend it at all. By “Felliniesque,” I mean the most stunning and unconventional traits of such films as La Dolce Vita, 8½, and Juliet of the Spirits: basically, a person undergoing a personal crisis in an increasingly surreal, carnivalistic setting that suggests an oncoming psychotic break—or divine intervention—or both; a liberal use of the grotesque sweetened with a Christian-humanist compassion; (more…)
Counter-Currents

