Smartorhypo Highly Overrated But Still Good

Lumsdal Good , But It Is Overrated By Some

Tacticalin An absolute waste of money

Claire Dunne One of the worst ways to make a cult movie is to set out to make a cult movie.

Raven-1969 "True power does not need arrogance, a long beard and a barking voice," said Oriana Fallaci "true power strangles you with silk ribbons, charm and intelligence." So begins an enthralling, eclectic and dazzling portrait of one of modern Italy's most powerful, feared, wily and enigmatic politicians, Giulio Andreotti. This complex, practical and mysterious man was the leader and brains behind the Christian Democratic party, which had a virtual lock on power in Italy during the Cold War.This is no dull biopic. While focusing on the later part of Andreotti's reign, the film delves into the compelling personal world of a political mastermind, and a luminous dreamworld of mesmerizing scenes including assassins, bomb blasts, cars speeding through highway tunnels, a horse race, government agents with uzis, rainfall amid the ruins of ancient Rome, and more. "We learn from the gospel that when they asked Jesus what the truth was, he did not reply." Nor does Andreotti, and this is one of the keys to his power. This cryptic man was careful to avoid judgments and confrontations. He kept secrets to himself, even FROM himself, and revealed his hand only when necessary. Andreotti was an anomaly in an arena where things are usually done by shouting, throwing things and violent acts. With the wisdom, humor, mischievous nature, realism ("priests vote," said Andreotti about his frequent church attendance "God doesn't") there are many similarities to Lincoln. While the robotic and distant personality of Andreotti sets these leaders apart, the loneliness of both leaders is striking. According to Andreotti, he met over 300,000 people, but was nonetheless lonely. The film includes depth galore and from a variety of standpoints beyond the intellectual. There is depth even in the background. We hear it in a woman's sing-song voice on the television declaring "we won't be altered." This is the mantra of Andreotti and the CDP; anchors in a time of instability, violence and terrorism. The camera work and story line are close and personal. Through such devices we are drawn into the inner world of Andreotti. We walk with him as he emerges from an armored car and stops to look at anti-CDP graffiti. Startling contrasts of silence and sound, including whistles and blasting rock music, alter the mood and keep viewers on the edge of their seats. Toni Servillo brings impressive Daniel Day Lewis style focus and preparation to the role of Andreotti. The actor and director continued to do amazing things together including The Great Beauty in 2013. Here is a balanced view of Andreotti. His faults as well as his gifts are on display. "There are no angels or demons," said Andreotti "we are all average sinners." The setting of the film, Rome, is like a mirror of the film itself; mysterious, ominous, demons lurking in the shadows, factions, history and more. Jury Prize award winner at Cannes.

chaos-rampant I came to this after a week of living for all intents in a bankrupt country right next to Italy, the result of decades of much the same corruption and ignorance in a rotten political fraction as this film depicts, looking for threads of the knot by our always richly expressive neighbors.Much like the film on Nixon this is an attempt to show the man, here seven times prime minister of Italy, by entering his mind to imagine pieces and impressions there. Much like Nixon it's a stream of consciousness framed helter skelter as confessional to us with an onslaught of different ways to deliver the image. Nixon was the televised apology we couldn't trust, this is the condemnation in a trial that acquitted Andreotti.The admission of what it is and why comes early, as Andreotti confides to an aide that uncontrolled reactions best reveal what is human about us. All the different camera flows, humorous surreal pieces, songs and unusual edits a way to loosen control, unfreeze him from the historic narrative that he tried to control so much. It's first an act of late justice, a way to wrestle control of images from him and for him to be a stooge on a stage that we set for once.But much like Stone the intended insights on the other end of opera are often too ordinary; to humanize a man as cold and calculating as Nixon, to show that he was lonely, kept awake by guilt and that he did strive for good as he saw it in his own warped way, so that we can leave on the stage a bit of man wrestling inner demons and a bit of enigma. More frequently for my taste it all becomes a matter of flipping through style rather than contemplating a passage. But a few moments truly stand out in the furor. I did like that it's only after an hour that we discover that he has a wife in a house somewhere that he opens up to no more than to anyone else, as if that's the place he accords her in the narrative of recall. The poignant moment of the two of them watching TV that gives a sense of an entire life together, how little and much it means and how endlessly close the difference between the two. As poignant as later when, surrounded by personal guards on one of his late night walks he chances upon a worker unloading a truck, someone much his own age, who doesn't need guards on a simple walk. The glance they exchange suggests vast difference of worlds, yearning to get to the other side. The parting image of him in the trial gives this again; acquitted or not for posterity, still all this pain to control a world as if you'd take some part of it on the way out or have the chance to live another life where you could do all the things you didn't in the one you wasted.

ironhorse_iv For over 50 years, seven- time Prime Minister Giulio Andreotti ruled as the most fear politician in Italy. He was accused of masterminding a Mafia/Neo Fascist/ Vatican conspiracy to kill leaders in the Italian's government which includes party members, judges, and government journalists. Based on those true events, the movie follows that guideline in telling the life of the man known to the public as "the black pope', 'Beelzebub' and "Il Divo' brilliant play by Toni Servillo and directed by Paolo Sorrentino. Toni's Andreotti look like the Six Flag Guy if only he was a gangster. His rigid gestures and the cruel language of his voice and use of his word gives you reason why they call him the 'Prince of Darkness' and 'Hunchback'. Politics is everything to him, and politics means the pursuit of power. He is willing to get it in any cost. The movie is violence—but respectable with it. It's hard to say, if Giulio Andreotti did all those stuff, that he was accused of, but it's seems more truth than fiction. Just the fact that he repeated convictions for Mafia ties in the past decade, remains the title of "senator for life" shows how much power this man had. As of this writing, the man behind of the movie, is still alive, and not in jail. It's tells you a lot about politics in Italy. Thus it felt like a politically charged movie. The film fails to live up to the subtitle 'The extraordinary life of Giulio Andreotti". It's mostly focus on his so-call crimes, and accused acts with the Mafia, barely about the life of the man at all. The movie shows how he been able to get close to getting catch, but end up getting away. The movie pace is slow at times, and feels kinda wordy and philosophy. The cinematography is amazing; angle shots of some scenes may ask you, how on earth did they film it in that angle. Great use of props and locations, the use of slow movements frames and lights in the scenes is awesome! The text describing the names and job of the characters listed is a bit too small to see, would advices watching the movie with sub-titles. The background music is catchy. Mixed with the classic music, drumming, Italian pop and modern electronic music, the use of playing and stopping the music mid-through it, when something dramatic happens, and then picks up after it, is chilling. The use of background sounds like whispers, trains, tape rewinder, are well-used to depiction an inside look of the mind of the man. There seems to be a Godfather feel to the movie, to the point, that the fictional character Don Licio Lucchesi from the movie The Godfather Part III, a high-ranking Italian politician with close ties to the Mafia, was modeled on Andreotti's ties with the Mafia. Those who doesn't know anything about Italian history, will figure out in the first 5 minutes opening of the movie Il Divo that will definitive summary of Italian political history where sadly corruption and murder is the key to power. Watch the cold, detached, and analytical movie throughout, and ask yourself when finish. How does a man like this get away with murder? Not all movies, the good guys win and the bad guys pay the price for their crimes.

nitznitch I'll fully take the word of reviewer "Mario Pio" (older author of "The Story of Language" a classic book in it's field), in particular because I was very impressed by his IMDb review as "elvinjones" of Roman Polandki's Repulsion. Reviewer "Donna Augustini" saw right away the bold reference to the dramatic film of Greek politics, Z (He is alive). Other Italians saw how Sorrentini made a script and directed it as a way to say that ALL THOSE PARLIAMENTS Italy had in the 20thCentury were a script and direction by Mussolini-Andreotti-Burlesconi. Unified of Italy in 1860 Camillo Cavour also thought Nicolo Machiavelli was the greatest philosopher, later for his own purposes endorsing instead John Stuart Mill!Paolo Sorrentini was able to convey such a sweep of impressions in his own style by using printed words at the very beginning and at the end, that way making the back-and-forth of the narrative coherent. The pictures of the characters could be associated instantly with their fates.