If pronounced correctly in Italian, “Parthenope” is a gorgeous four-syllable name to match the eponymous character’s resounding beauty in acclaimed filmmaker Paolo Sorrentino’s new feature. A little homework reveals that the name is synonymous with Naples and belongs to a fallen Siren in Greek mythology and tragedy, whose vocals couldn’t fit the bill in seducing the iconic Odysseus once upon a time. In effect, it’s reasonable to suspect the award-winning Italian director’s new drama might be a tragedy of sorts.
Maybe you’ve watched A24’s promotional trailer for Parthenope a dozen times to fully grasp lead actress Celeste Dalla Porta’s unparalleled beauty, something which often leads to suffering. The thoughtful but troubled character is the central focus in this life-spanning journey which overfills Parthenope‘s sprawling 137-minute duration.
Sorrentino’s latest unabashedly Italian feature feels a lot like The Great Beautyeven if it falls short of his 2013 masterpiece more often than not. Parthenope pays homage to its tragic Greek roots while becoming a full-fledged study of how surface-level beauty can take its toll on the surrounding world in remarkable ways — be it positive or devastatingly negative. You may find yourself misled on multiple occasions during the final act as to when the lengthy film is finally going to end. Yes, Sorrentino insists again and again he has more to toss your way, for better or worse, and it all may feel like a drag by the end. And not just for Greek tragedy-related reasons.
Tragedy, Oldman & More
Parthenope
2.5
/5
- Release Date
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January 8, 2025
- Runtime
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136 Minutes
- Producers
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Douglas Urbanski, Lorenzo Mieli, Elena Recchia, Ardavan Safaee
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Celeste from the door
Young Parthenope
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Stefania Sandrelli
Adult Parthenope
- Celeste Dalla Porta is an understandable muse; she’s irresistable and transfixing.
- Some intriguing supporting turns and twists, and a fascinating engagement with the audience.
- An interesting postmodern update of Greek tragedy, with some utterly beautiful, unforgettable moments.
- There are several missed opportunities to end the lengthy film earlier
- Gary Oldman is wasted.
Sorrentino aptly titles his film by his heroine’s name for a number of reasons — especially since the film opens at the time of her birth in 1950, quite literally in the ocean. Standing in shallow water, nurses gather around Parthenope’s mom to deliver the soon-to-be young woman into salt water, as if a mermaid is emerging into the sea. And why not? Set in picturesque Naples, Sorrentino sets much of the film around the beach.
The story soon flashes forward 17 years to see a teenage Parthenope (Dalla Porta), perpetually in a bikini, wandering in and out of her beachfront residence alongside her stud of an older brother, Raimondo (the excellent Daniele Rienzo). It’s a close-knit, seemingly unorthodox sibling rapport that might make some squirm, as a sort of underlying sexual drive plays out between the two while they grow apprehensively into their 20s.
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As is the case with Sorrentino’s past screenplays, the dialogue in his latest effort is chock-full of dryly comedic quips, particularly whenever the endless string of ogling men try to shoot their shot at Parthenope’s hand. But there are also some transcendent stretches without dialogue, becoming the sort of cinematic experience that would tickle the fancy of filmmakers like Paul Thomas Anderson — who has said in the past that he’d love to make a feature simply comprised of images and music (which is presumably why Anima exists). Sorrentino lets some of the most pivotal moments of his latest story transpire without any sort of dramatic verbal exchange, a pleasant change of pace from what North Americans are typically conditioned for.
And let’s not forget the tragic Greek roots behind our visually arresting protagonist, which means moments of shocking heartbreak are in store to drive along Sorrentino’s meandering narrative. Add in a splash of Oscar-winner Gary Oldman — yes, him — as a morbid alcoholic who stumbles upon the free-spirited Parthenope during one of her last-minute getaways to a neighboring city with her perpetually jealous boy-toy Sandrino (Dario Aita). But the elder John Cheever (Oldman), a well-dressed but down-and-out soul, urges young Parthenope not to “waste a moment” of her youth on him, despite her endlessly curious urges.
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Missed Opportunities & Divisive Choices
These interests of hers, especially into the human condition, lead the beautiful Parthenope into a life of education, enrolling in a prestigious university whose anthropology department is led by brilliant and dryly comedic professor Devoto Marotta (Silvio Orlando, matching his standout turn in Sorrentino’s masterpiece The Young Pope), a stiff family man who ultimately takes his pupil under his wing after some reluctance. Parthenope’s thesis for her studies leads her to a seductive bishop (Peppe Lanzetta, adding additional comedic pizzazz to the otherwise melancholic ensemble) in what soon becomes a sexually charged dynamic that recently caused Italian Catholics to denounce Sorrentino’s new film and stir controversy overseas.
Cinema is at its best when stirring thoughtful debates, among other things, though the questionable relationships that Parthenope develops throughout her tragic quest are perhaps not enough to hold the most die-hard cinephiles’ attention. That same niche audience might not even be on board with an incredible, outrageous reveal as the film winds down, once professor Marotta finally opens up to his now-colleague Parthenope about his extremely private personal life. Final moments like these, including a jarring flash-forward to the elder Parthenope (played by Stefania Sandrelli, an intriguing choice) might leave most simply scratching their heads, particularly more commercial audiences.
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And speaking of “commercial,” despite its arthouse demographic, the film often feels like an elongated, high-budget commercial for beauty itself, with Sorrentino saying, “Give us a two-hour spot with the most gorgeous 27-year-old on the face of the planet.” But of course, Sorrentino would stress his latest project speaks volumes beyond that. Perhaps he’d argue it’s an impactful odyssey for a heroine whose unmatched beauty takes its toll on everyone she touches, including archetypes like the eccentric acting coach (Isabella Ferrari) and the faded theater icon (Luisa Ranieri). A king of postmodern update on Greek tragedy and mythology.
On that note, Parthenope takes on a noteworthy meta angle, especially when rising-star actress Dalla Porta occasionally gazes right at us, through the silver screen, enticing us to enter her world of all that Naples has to offer. Unfortunately, some might say “hard pass” after finally making it the ending credits — though we can’t wait to see what’s next for “the great beauty.” From A24, Parthenope will be released in theaters on Friday.
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