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Sorrentino follows Jep Gambardella (Toni Servillo), a writer and man-about-town who has drifted into aimlessness after an early success and is turning 65 with a sense of missed opportunities. The film contrasts bacchanalian revels and vapid dinner parties with soaring music and excursions through the gorgeous squares, churches and palazzi of the Italian capital. The film is suffused with an air of melancholy and sense of spiritual emptiness, which Sorrentino explained by quoting a character in the movie, a Mother Teresa-style living saint. "She says, 'You don't talk about poverty. You can only live poverty.' It's like a summary of the film," the director said. "The film doesn't try to tell a tale. It simply tries to portray a poverty that isn't a material poverty, but a different kind of poverty." Spiritual poverty has rarely looked so lush. "The Great Beauty" of the title is life, but also Rome, a city stuffed to bursting with the ancient and the modern, the sacred and the profane. Journalists were generally enthusiastic, though some felt the almost 2½-hour movie was too much of a good thing. The Guardian called it "the film equivalent of a magnificent banquet composed of 78 sweet courses." Sorrentino, making his fifth trip to Cannes as writer or director of a competing film, said he simply "let myself be overwhelmed by the beauty of the city." "The city always surprises me, stuns me," said the director, who won Cannes' third-place Jury Prize in 2008 with "Il Divo." "What I tried to do was let myself be swept along by the beauty of these sights in Rome."
[Associated
Press;
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