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Film Critique of the Hand of God; The most pleasant Oscar contender this year

BingMag.com <b>Film</b> <b>Critique</b> of the <b>Hand</b> of <b>God;</b> The <b>most</b> <b>pleasant</b> <b>Oscar</b> <b>contender</b> this year

Paolo Sorrentino has repeatedly said that "The Hand of God" is the most personal Film of his career. Such a work can be found in the repertoire of almost every prestigious Italian filmmaker, a personal Film that chronicles the memories of the filmmaker's adolescence and his homeland. It is as if the filmmaker is looking for something that cannot be found in the current glamorous life. From Giuseppe Tornatore's Cinema Paradiso to Fellini's Amarcord, traces of such a view can be found. But the "hand of God" can not be considered the only personal exploration of Sorrentino in his life. In the midst of these retellings, this masterful Italian filmmaker takes a closer look at the life of a generation in the 1980s and delves deeper into the issues. he does. Like all Italian families, Fabito has crowded families, and their lives are full of jokes and laughter and lovely times. Nostalgia is woven into the fabric of the film. It is clear that all those parties, jokes and laughter, round lunches, those cold nights by the harbor, are part of Sorrentino's personal memories. He narrates and explores and tries to open before our eyes the same beautiful and crowded Naples that he himself has experienced. In fairness, it is successful in this regard. "City of God" is full of lovable characters and enduring scenes.

One of the most important aspects of "Hand of God" is the character of Diego Maradona. Given that just one year has passed since Maradona's death, it can be said that his death may have been the key to this project. Sorniteno's Film illustrates well why Maradona should be considered different from any other footballer and athlete, and it must be admitted that it takes decades for an athlete to re-enter the world under Maradona's influence. Even Lionel Messi, with all the noise he has made, can never follow in Maradona's footsteps. And Sorrentino explains the reason for this very well in his film. In the early parts of the film, most of the discussion is about whether Napoli will finally sign Maradona. Even with the comments that each character has about this news, a new understanding of them can be reached. For example, Fabio's father Saviro (Tony Servilo) considers this impossible and thinks that Maradona will enter a small club like Napoli's. This carefree and convincing look can be seen throughout Saviro's life. He is satisfied with what he has. He neglects only once and buys a dream house for himself and his wife Maria (Teresa Saponangelo), and the same disaster strikes him. Or Alfredo (Renato Carpentier), believes from the beginning that this miracle will happen and Maradona will come to Napoli. He imagines that Maradona is the miracle that can bring this slumbering city and these abandoned people to their dreams.

Maradona's shadow is felt throughout the film. It is as if he is really the Hand of God that has stretched over the people of this city. When Fabio's parents want to move to a new house, Fabito stays in the same old house, because Napoli will play Empoli tomorrow and, as he says, Maradona is waiting for him. This is how he miraculously survived that tragic event. Or one of the key arguments between Fabito and his brother Marcino (Marlon Joubert) while watching Maradona training. By analyzing Maradona's exercises, Marcino recounts his worldview to his brother. Maradona, even if he does not want to, is woven into the taropod of their lives. He is their savior, the very hope and motivation they need to move forward.

After all the bittersweet events that happen to Fabito, the most important event in the Film takes place at the end. Where he meets Antonio Capuano, a prominent Italian filmmaker. Fabito eventually comes to the conclusion that he should become a filmmaker. Talking to Capuano makes him more determined about this decision. He realizes that he must find a way to release all these stresses and emotional burdens. Capuano tells him that you can only become a filmmaker if you have something to say, do you have something to say? Fabito responds in the affirmative.

This can be seen in all filmmakers in history. Cinema seems to have been a tool for all of them to express themselves, to talk about the pains and sufferings, worries and anxieties of the people and their homeland. We should be happy that Sorrentino has also chosen filmmaking as his career path. If he was not a filmmaker, who would want to introduce us to Fabio and his family in Naples in the 1980s, who would want to tell us about Maradona's godly place in the world? Maradona has given cinema to one of the best filmmakers in the world today, what's a miracle higher than that? Paolo Sorrentino
Writer: Paolo Sorrentino
Cast: Filippo Scotti, Toni Cervilo, Teresa Saponangello, Luisa Ranieri, Renato Carpentier
Synopsis: In Naples in the 1980s, the young Fabio still loved football Follows. Until a bitter family event occurs and shapes his uncertain but promising future as a filmmaker.
IMDB Score: 7.5 out of 10
From 100
Year: 2021

[BOX] Criticism of The Hand of God is the author's personal point of view and not necessarily the position of BingMag. [/ BOX]


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