Review: ‘Il Divo’

What constraints should a filmmaker put upon themselves in the act of creating a biographical film? In my opinion, the term “based on a true story” is most fitting. To be “based” on truth is by definition the taking of truth and incorporating creative commentary to produce a work of artistic perspective. That’s a lot of words, so here’s the gist of what I’m saying… IL DIVO is a biographical film that juxtaposes viewpoints outside the boundaries of truth and fiction.

IL DIVO was written and directed by Paolo Sorrentino (L’amico di famiglia, aka FRIEND OF THE FAMILY). It is a film that chronicles the prominent chapters of Italian Prime Minister Giulio Andreotti, who was elected to Italy’s Parliament seven times since 1946. Andreotti, given many nicknames including The Black Pope, Beelzebub and Il Divo, was allegedly and infamously connected to the Italian mafia, indirectly associated with numerous political murders and scandals, yet never once served one day in prison despite several unsuccessful attempts to convict him of wrong-doings. It’s all about who you know.

What the film does that is intriguing is that, while conveying the factual portions of Andreotti’s political career, IL DIVO also blurs the lines between biography and commentary with the use of satire and psychology. Subtle humor is represented in the film when Sorrentino pokes fun at the awkwardly emotionless little gremlin of a man, emphasizing the character’s quirkiness in appearance and mannerisms. The film also attempts to study Andreotti psychologically, seemingly toying at the inner workings of the man.

Sorrentino uses the camera and performance from Toni Servillo as Andreotti to delve into the mind and soul of the character. The film often feels like there’s some attempt to make sense of the man, like research scientists poking and prodding at the exposed brain of an extra-terrestrial. Servillo (GOMORRAH) delivers a fantastic performance, devoid of outward emotion but rich in facial exposition and enunciated body language.

Giulio Andreotti, as depicted in IL DIVO, is the type of despicable character we know we should hate and loath, but we find ourselves strangely accepting the character regardless of the terrible things he has involved himself with. Andreotti considers himself a religious man, both publicly and privately. He is repeatedly quoted as saying he does not believe in chance, but in the will of God. Curiously, this belief of his perhaps perpetuates itself within Andreotti’s mind ever more with each reprieve from justice that he is served.

IL DIVO is one of those rare stories that open the eyes of otherwise unaware audiences to significant figures in history. However, there’s much more to be appreciated about IL DIVO than the historical importance. The film feels, in my opinion, like a mellowed-out Guy Ritchie was possessed by Stanley Kubrick’s spirit and made THE GODFATHER as if Don Corleone was a corrupt politician. Let me break that down. The story and the mood of the film feels similar in many ways to THE GODFATHER, including the character of Giulio Andreotti, whom as it turns out was the inspiration for the fictional Don Licio Lucchesi character from Coppola’s THE GODFATHER PART III.

The carefully constructed and precisely executed staging of the actors and the camera, creating distinct angles and compositions that speak volumes of the character and of the storyteller’s intention are reminiscent of Kubrick’s masterful eye and attention to detail. Likewise, the brilliant use of music that often would otherwise feel out of place is implemented to conjure a slightly skewed or enhanced amplification of a scene. Guy Ritchie is a bit of a wild card here, but there’s the occasional but prevalent use of energetic camera movement and slightly extreme angles that remind me of Ritchie’s unique films.

While applause should not be overlooked for Luca Bigazzi’s (BREAD & TULIPS) cinematography, a moment spent on the music is also necessary, as the soundtrack for IL DIVO is an unexpected pleasure. An eclectic combination of operatic, classical and contemporary music is woven throughout IL DIVO to superb effect.

As much as I praise the film, it is not without flaw. IL DIVO successfully grabs hold and doesn’t let go for the first 45 minutes or so, but somewhere around the one hour mark the film begins to drag at a slower pace through to the end, nearly risking the film’s overall appeal. Fortunately, IL DIVO survives and still garners high recommendation. Besides, the film has received 14 awards, including the Jury Prize at the Cannes Film Festival, and an additional 14 nominations. That says a lot.