“Parthenope”

(Drama/Fantasy: 2 hour, 17 minutes)

Starring: Celeste Dalla Porta, Dario Aita, Daniele Rienzo, Silvio Orlando

Director: Paolo Sorrentino

Rated: R (Strong sexual content/graphic nudity, strong language and thematic elements including suicide)

Movie Review:

“Parthenope” gives one a reason to see Italy’s beautiful cities and countryside, where beautiful people match their setting in this coming-of-age narrative. Academy Award-winning Director-writer Paolo Sorrentino (“The Hand of God,” 2021) shows the good and questionable aspects of Rome from sexually promiscuous lovers to old cultural traditions led by a wealthy patriarchy. Sorrentino seduces audiences. Even when scenes cause discomfort, one wants to indulge in the notions of this ancient, yet modernized culture.

Parthenope Di Sangro (an alluring Celeste Dalla Porta) is born in the waters of Napoli, Italy, in 1950. She matures into an intelligent, beautiful young woman. She is an anthropology student with a sharp wit. When asked why she wants to be an actress, Parthenope responds, “In old movies, actors always have a ready answer.” Well, Parthenope always has an answer for many men who incessantly desire her, including the incestuous advances of her brother Raimondo (Daniele Rienzo), who is in a perpetual state of depression. She also avoids the romantic innovations of Sandrino (Dario Aita), who is the son of Di Sangro’s housekeeper. Sandrino has been in love with Parthenope since he was a child.

This intellectually written drama is filled with great lines penned by Sorrentino. The moments resonate because these characters are exposing wisdom. Parthenope runs towards wise people. Her scenes with supporting characters are all relevant. The moments help audiences learn about Parthenope and her quest to understand the world during the 1960s through 1980s.

Parthenope’s beauty is what beguiles men, but her intellect is her most exceptional tool. As a college student, she confronts one of the anthropology department’s most senior professors, asking, “What is anthropology?” Professor Devoto Marotta, played gratifyingly by Silvio Orlando, responds with an answer that does not satisfy Parthenope. She asks, “Is that the correct answer?” He tells her, “No, that’s just the answer you can afford. Lévi-Strauss, first phase.”

Moments between Dalla Porta and Orlando are engaging philosophical moments that enlighten. Sorrentino’s writings have them speaking like academics. He does not dumb down his material while presenting it in a manner that should be relatable for moviegoers.

An example of this is when Parthenope asks Cardinal Tesorone what he likes in a woman. The religious man responds, “The back. The rest is pornography.” Tesorone’s line is humorous. It is befitting of a man of high rank in a religious order, yet that part of Parthenope appears to hold the least interest for him.

The scene expresses Parthenope’s independence. She is curious about others’ thoughts, but she is a modern woman who chooses her path and with whom she wishes to be intimate. She expresses herself and welcomes others to do the same.

Sorrentino takes esoteric moments and makes them universal, his suggested style. With “Parthenope,” he takes his audiences on a Federico Fellini style of filmmaking with extravagance and fantasy, luring one into temptation circumstances. Sorrentino takes viewers into wealthy homes and ghettos. He shows Italy as a place of opulent wealth and abject poverty. Through it all, his characters are happy in their situations, thriving to live and enjoy.

“Parthenope” starts in the heart of Italy, showing its beautiful people. Women and men appear as models, subtly flirting with each other and those in the audience. Exquisite scenery surrounds the characters, and Sorrentino takes every chance to make Italy charming.

He makes people living in poverty-like conditions in a scene appear peaceful, thriving individuals. They are surrounded by blue lights that descend from above as the town’s philanthropic benefactor, Roberto Criscuolo, an intriguing Marlon Joubert who was also in “Hand of God.”

While Italy is a beauty in this dramatic fantasy, its citizens give it a rich life. In this case, a large, talented cast of supporting characters are those people. Peppe Lanzetta is cunning as a vain Cardinal Tesorone. Gary Oldman nicely plays an alcoholic American writer. Luisa Ranieri delivers a shocking speech as Greta Cool, a disgruntled actress with a grudge against her hometown of Napoli. Isabella Ferrari offers sound advice for any woman, especially one as attractive as Parthenope. With each person, Parthenope learns more about herself, and moviegoers obtain a greater understanding of life in this Italian region.

Other than Professor Marotta, Parthenope Di Sangro forms few connections with the people she encounters. She learns and moves forward to another adventure. Her brother Raimondo describes her as always “fleeing” those who want her.

The negative part of this movie is that she is also elusive to audiences. Like youths during summer, she is always in the process of learning and leaving. The Italian culture of Neapolitan is explored through Parthenope’s youth. Therefore, audiences get to know the regional culture more than Parthenope. Still, we know enough about her to make her journey of self-discovery intriguing.

“Parthenope” is a brilliant screenplay by Academy Award-winning moviemaker Paolo Sorrentino. He wants one to experience the joy and the painful reality of his hometown. He does this by making some scenes a dream one wants to remain in, and he makes you feel uncomfortable in other parts. Either way, he wants one to experience Naples, Italy.

Keep in mind this is a fantasy as much as it is a drama. It can be surreal at moments, but it is a sound movie, especially for those who like movies as highbrow art.

Grade: B+ (“Parthenope” should not flee cinemas before multitudes have seen its grandeur on a big screen.)

“Cleaner”

(Action: 1 hour, 37 minutes)

Starring: Daisy Ridley, Matthew Tuck, Taz Skylar and Ruth Gemmell

Director: Martin Campbell

Rated: R (Violence, strong language, and drug use.)

Movie Review:

Daisy Ridley, known for “Star Wars: Episode VII – The Force Awakens” (2015) and its sequels, is the lead in the action thriller that appears a feminine version of “Die Hard,” (1988) Ridley proves she is an action star, but this script gives her little room to act in this cliched narrative.

Eco-activists turned terrorists led by Marcus (Clive Owen in a brief role) hold hundreds of people hostage on an upper floor of a high-rise in London. Joey Locke (Riddley), a dishonorably discharged soldier, works as one of the building’s window cleaners. With law enforcement unable to get inside the building, Locke uses her advanced military tactical training to stop the terrorist. Her task is paramount, considering her autistic older brother Michael Locke (Tuck) is trapped inside with the other hostages.

“Cleaner” may have been a better movie if told from the terrorists’ perspective. That would be a different twist at least. The terrorists, especially Noah, played energetically by Taz Skylar, believe they are saving the planet from corporate pollution. Their motives have a background. Joey Locke, conversely, is underdeveloped.

Instead, audiences get an unconvincing narrative. The fault is not Ridley’s. She is an interesting person in fight scenes, but the story in which her character exists is not. I kept waiting for her to yell some catchy line like “Yippee-ki-yay . . .”

She has no catchy phrases. This movie has no catchy substance to grasp either.

Grade: C (Script needs some cleaning.)