The data is real, see, and It was the hand of God popularizes it: the director Paolo Sorrentino was saved from dying thanks to Diego Armando Maradona.
The facts: Sorrentino, a Neapolitan, was a Maradona fan in his youth, and did not miss a game of 10 playing home for Napoli at the San Paolo Stadium. So when his parents invited him to spend a summer weekend at the house they had in Roccaraso, he declined the invitation: he traveled to Empoli to see the 10 playing away.
So it was his passion for Maradona that saved him from death, at 17 years old.
Filippo Scotti plays the director’s alter ego. It won an award at the Venice Film Festival. Netflix photo
Sorrentino, Oscar winner for The great beauty (2013) had thanked Maradona in his acceptance speech for the Hollywood Academy Award (also, Scorsese, among others).
Exorcise the trauma
And he was finally able to exorcise his trauma with an autobiographical film, in which the Sorrentinos are the Schisa family. He changed the odd name – his alter ego is Fabietto – but the father is still an inveterate communist, the mother a joker, and he has two brothers, one who wanted to be an actor and went to a casting to be an extra in a Fellini film , and his sister, who spent it in the bathroom.
Dad, Mom and Fabietto: when everything was smiles. Netflix photo
Let us agree that the director of Youth and Il divo he always had Federico Fellini on the horizon. And with It was the hand of God make your own Amarcord.
And no, it is not up to par, but the childhood of the genius of 8 ½ He did not have an event as tragic as the one Sorrentino had to face in his youth.
Toni Servillo, protagonist of “La grande bellezza”, is the father. Netflix photo
It does have in common with Amarcord nostalgic spirit, and sex, with exuberant women – the vulgar humor with which several women are painted in his filmography has already been marked, and this is no exception – in the case of It was the hand of God embodied in an aunt of the protagonist and Sorrentino’s alter ego, specifically a woman who had to be admitted to a psychiatric hospital.
The viewer does not have to know that what is being told, what he sees on the screen is the translation into images of the trauma that the filmmaker has had since that tragedy happened. The knowledge of the facts obviously reinforces the empathy with those who suffered it in their own flesh.
Filippo Scotti goes from naivety to experiencing pain, in this film that also uses fantasy. Netflix photo
And it’s not that the movie doesn’t thrill. How does Sorrentino tell it? The scene in which Fabietto learns of the death in the hospital is finished off by the director with a distant shot. Like taking a certain distance.
Before, in what would be his way of saying goodbye to his parents, he does it with a delicacy that we are not going to spoil. And even there a joke is allowed.
The family unites in the boat. What are they looking at? To Aunt Patrizia, who sunbathes naked. A classic from Sorrentino. Netflix photo
The veneration of Maradona runs through the entire script, from the first date when the projection starts (“I did what I could. I don’t think it was that bad for me “. Signed: Diego Armando Maradona) until the celebration of the goal mentioned in the film’s title.
“He has avenged the great Argentine people, oppressed by the ignoble imperialists in the Malvinas. He’s a genius! It is a political act ”, they tell him on the balcony of his house, with the TV on. Fabio looks on, incredulous. “He humiliated them.”
At times, the cartoons that portray the family seem taken from “Los Campanelli”. Netflix photo
The family is typically Italian (Toni Servillo, a regular in Sorrentino’s filmography, is the father, and Fabietto is the Filippo Scotti, awarded this year as a promise at the Venice Film Festival, where Sorrentino won the Grand Jury Prize), and for moments it seems that one is watching some old recorded program of The Campanelli.
But no. After the tragedy, which coincides with the middle of the projection, the film breaks in two. Sorrentino recounts, at least the first half of the film, as if they were vignettes in the life of that family. Sorrentino’s mannerisms, which may or may not be liked, remain, but this time he added tenderness. It’s not bad at all.
(“It was the hand of God” is shown this Monday 22 at 18, at Ambassador 1, and on Sunday 28 at 15, in the same room. Netflix premieres it on December 15)
Reference from clarin