Il Divo Imdb Filmography
IMDb, the world's most popular and authoritative source for movie, TV and celebrity content. (writer: "Da da da"). Il divo (writer: "Da da da, ich lieb dich nicht du liebst mich nicht aha aha aha" - as S. Remmler). Vollidiot (performer: "Ich Kann Nix. Piccole avventure romane. The Escape. The Dream. La partita lenta. Entering Red. Le voci di dentro. Loro 2. Loro 1. Loro. The Legend of Red Hand. Il Divo. Il papà di Giovanna (original title) Il passato è una terra straniera (original title) · Gherardo Best Screenplay (Migliore Sceneggiatura). Il divo. Winner. Il divo. Neben einem Interview mit dem Regisseur finden sich auch Dokumentationen über die Entstehung von Il Divo sowie die verwendeten Spezialeffekte im.
Il Divo - Der Göttliche (Paolo Sorrentino, ,I/Fr)arte, Die Insel (Michael Bay, , USA) Zdf, Die Verdammten des Krieges. perspectives différentes: il s'agira d'individus confrontés aux bouleversements sociaux et politiques de (Buongiorno, Notte, Marco Bellocchio, ; Il Divo, Paolo Sorrentino, ), de la 8 tibag.co [17/09/]. Il papà di Giovanna (original title) Il passato è una terra straniera (original title) · Gherardo Best Screenplay (Migliore Sceneggiatura). Il divo. Winner. Il divo. A married couple is terrorized by a series of surveillance videotapes left on their front porch. Le voci di dentro TV Movie Arrow Kinox story of Italian politician Giulio Andreotti, who has served click here Prime Minister Il Divo Imdb Italy seven source since the restoration of democracy in just click for source Movies i like. Clear your history. Nicht bei Justfilm. Movies Watched. Plot Keywords. A stylistic and unusual exercise by director Paolo Sorrentino capturing a decisive rugby match, please click for source a father and son playing for the same team. R 92 min Crime, Drama, Romance. June's Most Anticipated Streaming Titles. R min Drama, Thriller. Loro 1 Young Mixologist Steve Osborne Le voci di dentro TV See more Trailers and Videos. They are cultivated, retired music teachers. Short Mystery Thriller. Their daughter, also a musician, lives in Britain with her family. A married couple is terrorized by a series of surveillance videotapes left on their front porch. Consider, Manuela commit min Drama, Thriller. Plot Keywords.
Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary.
Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews.
Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Director: Paolo Sorrentino. Writer: Paolo Sorrentino.
Available on Amazon. Added to Watchlist. From metacritic. Italian Directors. Share this Rating Title: Il divo 7. Use the HTML below.
You must be a registered user to use the IMDb rating plugin. Nominated for 1 Oscar. Edit Cast Cast overview, first billed only: Toni Servillo Giulio Andreotti Anna Bonaiuto Livia Danese Giulio Bosetti Eugenio Scalfari Flavio Bucci Franco Evangelisti Carlo Buccirosso Paolo Cirino Pomicino Giorgio Colangeli Salvo Lima Alberto Cracco Don Mario Piera Degli Esposti Signora Enea Lorenzo Gioielli Mino Pecorelli Paolo Graziosi Aldo Moro Gianfelice Imparato Vincenzo Scotti Massimo Popolizio Vittorio Sbardella Aldo Ralli Giuseppe Ciarrapico Giovanni Vettorazzo Magistrato Scarpinato Orazio Alba Learn more More Like This.
The Consequences of Love Crime Drama Romance. L'ami de la famille Certificate: Tous publics Drama.
One Man Up Comedy Drama. The Great Beauty This Must Be the Place Loro Biography Drama. Silvio et les autres 2 Loro 1 Certificate: Tous publics Biography Drama.
Youth I Comedy Drama Music. Gomorrah It's a performance that gets past mimicry or impersonation - it's Andreotti as a person, not a movie character.
So, the concerned party's opinion aside, everything speaks in favor of this ambitious, thought-provoking, stunning opus. In one word, to keep in with the complete title: extraordinary.
Warning: Spoilers. Andreotti was really recognized guilty of association with Mafia until This was probably the most important piece of information to be delivered to the audience, but it was instead concealed with legalese in a small blurb of rolling text among the end titles, where it's easy to understand just the opposite.
There's an unspoken agreement in the Italian medias, for this truth must not really be spoken or printed. We must all go on pretending Andreotti was acquitted of all charges because he was innocent.
His lawyer, the one who lost the appeal, went on to lie and everybody in the press and TVs pretended to believe her.
Now she's a politician herself. Go figure uh? Paolo Sorrentino, despite trying to be oh-so-courageous, can't manage to state it in a simple and understandable way.
The screenplay is in itself a little messy. While in a sense it tries and succeeds in conveying the intricacies and complexities of politics through artistic devices, and to point out how blurred is the line which separates the underlying blunt truths from the soft words of the lies which the public must be lullabied into - the final outcome is that even I had some trouble to make all the facts and faces overlap with their real-life counterparts.
And that believing I have a fair though certainly far from complete understanding of some of the basic facts that underpin the rise and fall of one of Italy's most controversial and powerful figure in all of my country's recent history.
I can only wonder what insights the unsuspecting audience may have gained from this viewing. And with the great deal of time the film spends to describe in detail all the quirks that make this otherwise alien figure all so human, eventually the effect may turn out to be sympathy for the devil.
The task was certainly not an easy one, but the outcome is a thorough disappointment. I want to see this again, to help me decide if it really was as good as I thought it was the first time round.
Whod've thought that a film about a seemingly unprepossessing little Italian politician, Giulio Andreotti, could be so damn entertaining.
The movie revolves around how extraordinary this man was. However, the mystery - did he or didn't he arrange all those assassinations, was he or wasn't he involved with those nasty Mafia people - was the main driver for the story.
A film's plot is always the main enjoyment for me - which is why I detest those smartass reviewers who think it's OK to give the game away - and this one got a big leg up from the true -life storyline.
The answer to the mystery is probably given in one seconds-long soundbite somewhere near the end of the film.
I say probably because Mr Andreotti spends a fair bit of time in solo self justification and I was never sure if any of his monologues had elements of truth in them.
As a piece of film making, this movie is dark, elegant and strange, as befits the subject matter. The acting performances are excellent, particularly Tony Servillo as the said Mr Andreotti.
Overall, splendido. Il Divo charts the vast and eventful reign that former Italian prime- minister Giulio Andreotti had over Italy.
He served as prime minister a number of times between and , and also held positions of Defence Minister and Foreign Minister. During this time he was widely believed to have strong links to the Mafia, and was placed on trial in the late 's for his involvement in the murder of a journalist who was suggested to have held documents that strongly implicated Andreotti in criminal activities.
The film jumps back and forth in time, and shows Andreotti's enigmatic presence of almost divine levels, and his guilt over his refusal to negotiate in the kidnapping and eventual murder of fellow Christian Democrat Aldo Moro.
This is no ordinary biography. It is an unconventional, highly stylised comedy-drama that is infuriating, exciting, informative and exhausting.
Director Paolo Sorrentino throws so many facts, figures and names at you in rapid fashion that it all becomes a blur, it is near impossible to keep up, especially if your knowledge of Italian politics around this time is slim which was the case for me.
But it eventually becomes clear that all this information is irrelevant. It's simply a way to show just how involved Andreotti was virtually everything that happened.
He was so influential, so powerful that nothing escaped him. And nothing could touch him. Toni Servillo's simply brilliant performance conveys everything you need to know about Andreotti.
He is not physically intimidating, but instead he is hunched, softly-spoken and extremely strange-looking.
But Andreotti does not need to move for anyone. His extreme intelligence and near-supernatural ability to get out of situations by doing next to nothing only increases his divine status.
We see the best and worst of Andreotti, but Sorrentino is not trying to force an opinion of him out of us, but instead he has directed an outrageous film about an outrageous man.
JoshuaDysart 5 March I've heard several American viewers complain that this film is all style over substance. I couldn't disagree more.
I think that if a viewer is familiar with Italian Political History then this film comes off as absolutely breathtaking, and not just for its amazing filmic style.
For one, the performances and interpretations of these real characters are spot on and for another the intelligence and courage to which the script approaches the ethical implications of Il Divo's actions, the breadth of moral exploration, how he defends himself to himself, to others and, often, directly to the viewer, is a welcomed shock and dose of complexity to the often polemic and overly-reductive discourse in Italian politics not much different than here in the States in that regard.
Lastly, for Italians, these events resonate incredibly and speak very much to the current power base in Italy. I truly feel that a lot of Americans are watching this film with cultural blinders on.
I won't lie, it is definitely designed for people that already have a strong grasp of the history. It doesn't weigh itself down with long explanations and exposition except in text at the beginning and end of the film so if you're coming to this to learn every sordid detail about its subject, or for a plot, even, then you might not find much reward in it.
But as an exercise in unpacking a very complicated subject with real style, it's amazing! This is one of those movies where you need to be up for active entertainment read: awake and willing to process data and moments quickly.
For the very same reason some people give this movie bad reviews as they are upset that the Director Sorrentino does not bother with explaining the history of Italian Politics after World War II and the influence Andreotti had on this.
If he had to do such for an unknown to understand the story line, the movie would be one hour longer or it would become a pointless exercise and most likely a tiring one for most of the audience.
This movie is made for an Italian speaking audience with knowledge of Italian Politics - not a Hollywood blah blah movie. Personally, I was a little familiar with the background of Italian Politics but spent a significant amount of time after the first viewing to learn more about entities such as the P2 Porpaganda due lodge, Gladio NATO "Stay behind" organisation , The main characters from the Christian Democrat party as well as a few gentlemen from the Island of Sicily.
In light of this sin flood of information I watched the movie a second time and was frankly baffled by it's incredible way of telling such a complicated story in such short period of time.
Speking only a bit Italian but coming from a non English mother tongue country I was able to understand many parts of the movie without subtitles.
I am however used to reading subtitles of non-English movies, which might ruin the experience for people who are not used to such due to the speed of dialogues and the general amount of data released during the minute high speed portray of much more than Il Divo Giulio himself - it is about Italy as a country Long story short, if you appreciate Italian way of life, accept that the Mafia is something as part of their society let it be Sicilian, Calabria or Napolitano , you enjoy style, class, quality, good food and music as well as the fact that things might just not be inside what it says on the tin then this is a movie for you.
If you rather look for an easy digestible film after work, do not speak Italian and have no interest in reading subtitles, do not like ambiguity in scenes and do not like to put the movie together in your head afterwards - then this is certainly not a movie for you If you do not know about Italian Politics and want to grasp this movie at first viewing read on the internet about Andreotti, Craxi and "the years of Lead" for 20 minutes before going to the Cinema.
Giulio Andreotti can be seen as both the precursor to, and the antithesis of, Silvio Belusconi: an Italian politician with his fingers on every lever that led to power, accused of everything but convicted of nothing, and yet peculiarly devoid of conventional charisma.
A sense of a particularity, of a man who had become nothing beyond a carefully constructed defence of his own behaviour, was nicely captured in Tim Parks' fictional work 'Destiny'; and we get the same feeling in 'Il Divo', a biopic with an extraordinary performance Toni Sevillo by in the lead role.
What neither offer is definitive, or even speculative, resolution of the enigma and his actions; just a chilling yet plausible portrait of the man.
Yet without providing clear answers, something else must provide the story. In Parks' book, Andreotti was a bit part; in the film, there's no other narrative, and sometimes the direction feels a little too heavy, overdone perhaps because there isn't a smooth tale holding things together.
And the music on the soundtrack seems deliberately incongruous, thrown into the mix to provide some variation in tone that would otherwise have been lacking.
But Servillo's performance more than compensates; it will lead you wanting the same answers, one suspects, that everyone has wanted from Andreotti for a long long time.
This is a great movie about a controversial, damned and tragic figure of Italian political world of the last 50 years, touching some of his notorious, never fully clarified trials as landmarks of career.
A comedy, realized half as a subjective view of the facts, half as a conventional comedy narrative incorporating other known characters of the period.
The deeply narcissistic, subtle and ambiguous nature of Andreotti is outlined with sharpness and sarcasm. You can only speak his "humanity" like Sorvillo does here, if you'd know the subject for many years as Italians do.
This wonderfully acted and written great movie speaks to people who lived or know those years close, who have an idea of the period called "first republic", the years of the Cold War and terrorism in Italy.
Servillo's acting is worth the film alone, but all the great actors around him are perfect and clearly highly enjoying the project.
Curiosity: if you have seen The Godfather Pt. This film is high art compared to that movie, though; this must be said.
Quinoa 19 January I'm sure if I were raised in Italy and paid attention to Italian politics day in and day out all of what transpires in Il Divo would be no less than engrossing.
The story of Androetti, the head of a government that went for seven administrations and then went on to run for President has some really fascinating things to it.
One of those is seeing just how the parliament works in those scenes midway through the picture and how the country actually chooses its president, which is so far removed from the US democratic process it's hard to fathom.
And I also admired how the actor playing Androetti so got into this kind of quietly conniving politician, a man who believed that politics was everything and yet would never get passionate enough to raise his voice above a whisper.
Somewhere inside of him a Dick Cheney is rumbling, perhaps. But the problem in watching the film if you don't pay attention to the Italian politics of the period, or just in general, is that the filmmakers lose you fairly quickly.
I usually find myself a viewer who doesn't like to be spoon-fed information very simply, but this is on the opposite end of the cannon where only a few real details are clear enough and then the rest comes whizzing by at a quick clip and quick indeed as the camera style is akin to the operatic nature of Scorsese, only not as talented or focused.
Names of characters keep coming up as title cards, and except for a couple of names like "The Lemon" Androetti's right-hand man , none of them really stick out, and the incidents keep piling up without any real connection.
At some point the basic story does reveal itself and holds some interest, but there's a disconnect between many scenes too, and a sense of cross-cutting done a few times i.
It's not a waste of time though if you're totally ignorant about Italy's political structure and brash sense of the power dynamic.
But it's not one that I particularly enjoyed, either, and its lack of a connection with the mounting details made it harder to appreciate.
He is a tiny man, quite fragile looking hunpback, dog-eared , but very witty, and with a huge aura of power around him one of his famous aphorism is: power tires those who don't have it.
He was a controversial character: first depicted quite as a saint, then as the great maneuverer, and at last as a politician able to welcome the evil to reach his aims.
At first sight, this movie surprised me. First of all i was surprised by the ironical and grotesque cut that Sorrentino gave to his movie.
Then i was surprised by the judgement suspension that this movie gives to the main character: yes, of course, there are tons of evidences that Andreotti had to do with evil persons to keep his power, but the movie director never says "he is the evil".
At the second sight i found out there is more. At the second sight the main character faded into the whole background.
This is a movie about Italian politics as a whole. This movies points out how italy has become the country that is nowadays.
It shows the slow downhill starting from the first idealists of the republic such as DeGasperi , down to politics such as Andreotti for whom "a tree needs manure to grow up", a sort of Machiavelli's "a greater aim justifies any deed" , down until the politics that just want power for power's sake for this reason the portrait of Cirino Pomicino - this name looks like a joke, but it isn't!
So no surprise when you read about an Italian politician that is judged for corruption or something even worse: it's the consequence of the downhill of the politics that common citizens cannot stop anymore, simply because citizens have no power anymore, it is all in politicians' hands and they share it from hand to hand.
I can understand that foreign viewers can find this movie boring and difficult to understand. But forget for a moment it is a movie about Giulio Andreotti, and watch it as the history of 30 years of a real country's politics.
Veeery frightening the scene in which Andreotti, caught by insomnia, walks in an empty street surrounded by a 20 men's heavy armed escort.
In a "normal" country, straight people should be able to walk safely in any street with no need of any escort at all. That's all imho I heard this movie was great, exciting, and gripping It was beautiful, cinematic, great sound track--but simply exhausting trying to understand all the relationships.
After 45 mins, I stopped trying so hard to remember names and connections, the gestalt took over. That helped, but nevertheless without any familiarity of Italian politics, one really had to remember closely the framework that was outlined in the first five minutes.
And similarly, there is a scene when his secretary describes what his hand movements mean--if he is tapping his fingers together, you will be dismissed within 5 mins, if he is playing with his ring, it means he is interested, etc And then throughout the movie it shows his hands--but I couldn't remember the different meanings.
It wasn't important, but what I am saying is that it's hard to know the forest for the trees--what IS important to pay attention to, and what isn't really essential.
We found it very long because the storyline was rather vague and very gradual. The last 15 mins were excellent.
This is a film made at a very high caliber, I just think the writers could have structured it a little differently.
But this is 10 stars compared to most of what comes out of Hollywood. It was challenging but special. Truly Andreotti described in the decline years was the quintessential symbol of power in Italy, the way to made politics following the hypocrite way of evil to do the good.
Now things are changed and not in best. The greatness of sorrentino is that he doesn't choose the realistic style of the denounce movie.
All is grotesque, over-style, but is necessary to show the real face of my country. Be artificial to tell the essence of Truth.
All the actors are in state of grace Servillo over all and Sorrentino direct the movie thinking over the poverty and the childish indulgence of our cinema.
The country of disgusting Muccino and Moccia have a real talented genius finally!!!! I'm proud. Rindiana 24 June This ultra-slick, highly stylized account of Giulio Andreotti's Machiavellian schemes during his premiership s goes down like butter, but in the final analysis, the pic's a tad too flashy and trivial in its depictions of dirty politics.
There's a certain lack of insight, professionally covered up by lots of technical shenanigans and eye-catching performances, above all Toni Servillo's chameleon-like turn in the title role.
It's still worthwhile Italian film-making with the right amount of humour, violence and tragedy to warrant two enjoyable hours.
Avant-garde biography-documentary, a rare cinematic adventure. It took me a while into this 2-hour Cannes Jury Prize winner to decide for myself its genre.
I finally decided to call it an avant-garde biography-documentary, regardless of what other people may say. In his award winning European Film Award portrayal, Tony Servillo brings to the screen a Andreotti that is "calm, ambiguous, inscrutable" 08 Cannes Official Program's introduction.
With a slouching Nosferatu pose and hands clasped like Jack Benny with apt sarcastic humour , Servillo does project an enigmatic aura, which is further enhanced by varied, surreal presentations ranging from Katino-style stoicism to rapid-fire monologue, depending on which particular scene.
Deciphering Andreotti alone is a mesmerising endeavour, which the audience can undertake through following his manoeuvres to stay in power first half of the film to the Mafia-connection charges he faces after losing power second half.
A hint of what this man really is has been given right at the beginning of the film. He intimates to a priest that he prefers talking to priests rather than to God, because "a priest votes, God doesn't".
But later in the movie, he says that what he really wants to be is a cultured man e. The film is shot in a rich profusion of colours, ranging from misty moody orange to bright glaring blue, and everything in between.
In no less proliferation is the varied background music, classical, pop, lively syncopation, wailing strings, rousing vocals.. DrKDB 7 November I have to admit that this movie, because of my lack of familiarity with the subject was a hard thing to watch.
It's like a thick heavy piece of dark multi-grain bread. You know it has a lot of substance but it's hard to enjoy.
I'm one of those people at the movie rental places that the clerk is always telling, "you know But, that's not me. I really do enjoy foreign cinema- most of it is incredibly rich and fulfilling.
I just want to give everyone a little 'heads-up' without revealing any 'spoilers', that this baby is thick, it's dark, and like the aforementioned bread, nutritious but not very enjoyable to digest.
Waerdnotte 16 April This movie appears to have been picking up many plaudits for its part in a new wave of Italian cinema.
Over here in Blighty it has been lumped in with Gomorrah and Romanzo Criminale as a movie that offers something different in terms of narrative structure and cinematography.
However, unlike those two movies I found it almost impossible to follow or understand. The structure left me feeling completely lost for the first thirty minutes or so, and, as another writer commented, the use of explanatory text on screen gave too much information in too short a time, particularly when trying to grasp the translations, which often appeared in difficult areas of the screen.
The story no doubt resonates for those who know and understand Italian politics, but for me I felt no empathy for any characters, or to be perfectly honest, any interest in the outcome of the film.
However, the movie did look absolutely fantastic, at times feeling much like a Europop music video. The cinematography is superb. Yet, the movie just doesn't work on a narrative level for an English-speaking audience in my opinion.
It relies too much on an understanding of the intertwined relationship between Italian politics and the criminal underworld, knowing who these characters are or were in the real world and their relationship to each other.
It is not a story that stands on its own as a piece of narrative cinema, but it is a movie that is worth watching just for the the visual spectacle.
I know that may sound a bit shallow, but I really don't think it translates well for a non-Italian audience. For over 50 years, seven- time Prime Minister Giulio Andreotti ruled as the most fear politician in Italy.
Based on those true events, the movie follows that guideline in telling the life of the man known to the public as "the black pope', 'Beelzebub' and "Il Divo' brilliant play by Toni Servillo and directed by Paolo Sorrentino.