Last Updated on Friday, 14 August 2020 16:58
Paolo Sorentino, Italy | France
LORO was the closing film at the Filmfest Hamburg. The Jury at the award ceremony beforehand didn’t linger too long passing out the prizes in anticipation that this lengthy two-hour-twenty-seven minute film was to follow. The original was shown in two parts Loro 1 and Loro 2 about two weeks apart in Italian movie theaters; almost an hour was cut for the international version.
Somehow you just can’t look away, not for the entire two hours and twenty-seven minutes. Sorrentino has filmed a brash satire about the Italian media mogul and former prime minister Silvio Berlusconi (Toni Servillo) that simultaneously engages, fascinates, and repels, all to a soundtrack of more than thirty songs. Welcome back to the voyeuristic, hedonistic Italy once captured in celluloid by the master filmmaker Federico Fellini.
In the first part of the film Berlusconi doesn’t even appear. His name is never uttered; however everyone is continually talking about him. One scene shows a very obliging lady drop her bikini bottom to reveal his lecherous tattooed head. Every scurrilous, corrupt, and promiscuous hanger-on orbits around Berlusconi, hence the title Loro meaning Them, the planets who would be nothing without the sun. In truth it is all about him.
Berlusconi is the greatest salesman Italy has ever known. He needs them almost as much as they need him. Like the boss of the mob everyone vies for his attention hoping for favors in return. Cocaine snorting, women procuring Sergio Morra (Riccardo Scamarcio) and his equally cocaine snorting, ruthless wife Tamara (Euridice Axen) spend a fortune to rent a villa in Sardinia full of bunga bunga ladies to get in his good graces. At first he seems a bit bored and distracted by the spectacle of hordes of barely clothed EDM girls competing for his affection.