Parthenope (2024) - Film Review

      Parthenope, 2024.

      Written and Directed by Paolo Sorrentino.

      Cast includes Celeste Dalla Porta, Gary Oldman, Stefania Sandrelli, Silvio Orlando, Luisa Ranieri, Peppe Lanzetta, Isabella Ferrari, Silvia Degrandi, Lorenzo Gleijeses, Daniele Rienzo, Dario Aita, Marlon Joubert, Alfonso Santagata, Biagio Izzo, Nello Mascia, Francesca Romana Bergamo, Brando Improta, Riccardo Lai, Alessandro Paniccià, Cristiano Scotto di Galletta, Luigi Bruno, and Francesco Russo.

      SYNOPSIS:

      Born near Naples in the sea in 1950, Parthenope is portrayed as beautiful, mysterious, and intelligent. Attracting numerous suitors, she learns that her beauty comes with its own price. Named after the city and inspired by a siren from Greek mythology, Sorrentino's film attempts to narrate Parthenope’s journey with an alluring protagonist (marked by Celeste Dalla Porta's impressively enigmatic debut performance), though it often gets lost amidst the captivating Italian landscapes (thanks to cinematographer Daria D’Antonio) and an episodic format that lacks consistent focus. The enigmatic aspect often ventures too far into abstraction.

      Sorrentino's tendency to prioritize style over substance has become a hallmark of his work. His fixation on youthful beauty as a source of disruption—suggesting it can be exploited for personal gain or be secondary to a woman's intellect—feels superficial here. Having previously explored themes in films like Youth and The Great Beauty (the latter earning him an Oscar), this new project can be seen as a rehash. Moments into the film, one might feel inclined to think, “he's making a similar film again, but this time with a female focus,” which is disappointing and even more frustrating as intriguing elements arise only to be wasted due to abstraction and a reluctance to explore central themes through character development.

      Despite Sorrentino and his team capturing the beauty of Italy as adeptly as few contemporary filmmakers, this aspect is starting to feel insufficient for a recommendation; it seems to be more of a crutch now. The ambitious narrative spans an entire life, beginning in 1950 with Parthenope's birth and swiftly jumping to her desirable young adulthood at age 18, where she attracts attention from older affluent family friends, peers, and even her brother (as is characteristic of Sorrentino’s work, unsettling themes of incest also surface).

      While working on her university thesis and seeking the real essence of anthropology, Parthenope embarks on various adventures, including a transformative summer vacation, encounters with disenchanted authors (featuring a brief appearance by Gary Oldman, who challenges her perception of beauty), and interactions with similarly disillusioned actresses (hinting at her potential entry into the industry). Throughout, she experiments with the influence her attractiveness affords her, often with ambiguous intentions.

      The central message Sorrentino seems to convey is that beauty and youth are closely linked, yet one can't genuinely perceive people, the world, or other forms of beauty without some degree of life experience. During her life, Parthenope endures a tragic loss (an event she strives to comprehend through anthropology), makes difficult choices, nurtures a meaningful bond with her professor, and gradually gains deeper insights into life. However, the film also features third-act contrasts in beauty that are overt and somewhat fantastical, which unintentionally highlight the bluntness and unoriginality of Sorrentino's themes. The messaging throughout remains shaky.

      While Parthenope isn't entirely dull, it does bog down during its less engaging sections. Beyond its exquisite craftsmanship and the captivating lead performance, several weighty plot points show potential to enrich Parthenope’s character development and worldview—clearly the film's objective. Yet, it often lapses back into tedium.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★

      Robert Kojder is affiliated with the Chicago Film Critics Association, the Critics Choice Association, and the Online Film Critics Society. He is also the Reviews Editor for Flickering Myth. Check here for new reviews and follow my BlueSky or Letterboxd.