It was God’s hand 7 points
Nor was the hand of GodItaly/USA, 2021
Direction and text: Paolo Sorrentino
Duration: 130 minutes
Translators: Filippo Scotti, Tony Serviglio, Teresa Sabonangelo, Marlon Joubert, Luisa Ranieri, Renato Carpentieri, .
the first show: Available on Netflix.
If: It was God’s hand, new profession by Paolo SorrentinoIt is hyper and expansive, baroque and deliberately cheerful, overloaded and hyperactive, tragic and comedic, theatrical and exotic, maudlin and perhaps even slightly manipulative (and adjectives follow). And what did you expect from a film set in Naples between 1984 and 1987, the years marked by Diego Maradona’s arrival at the city club? Did they want moderation and humility? Sobriety and containment of emotions? Morals and good manners?
no: It was God’s hand Its intended purpose is to get you moving and excited, always and at any cost. For this, Sorrentino expresses an excessive fantasy about his adolescence, through the story of the edges of his autobiography, a classic subgenre of Italian cinema, from Fellini to Tornatore. A nostalgic love letter to his family and his city, where the Argentinian footballer’s character acts as a catalyst and ignites into the abyss of personal and collective desires, but also of the hero’s reality.
The film began in 1984, when Maradona’s arrival in Naples was still rumored. A very powerful one, but ultimately popular, and there were not a few who would look skeptically that the pass from Barcelona would come true. But for Fabito, a dreamy and melancholy teenager, it was an illusion that there was no way it wouldn’t come true. Around him, Sorrentino expresses a vast, animal-inhabited world that includes a cynical father proud of being a communist, a joking and sensitive mother, a missing half-elder brother who wants to be an actor and a sister who never leaves. the bathroom. But also an aunt occupying her sexual dreams, unpresentable but lovable relatives, and a friendship with an smuggler of Maradona’s popular wisdom.
That is, in a way, It was God’s hand It’s a Maradoni movie. It is also in its transgressions, in the corruption with which it formulates its feelings and the emotion that it expresses and conveys. It’s two Maradonians in the fancy cinematic device that Sorrentino uses, to present himself as virtuous with a camera like a 10 with the ball. However, there is a point where the film goes beyond the boundaries that footballer Maradona has always respected. Because Diego was a utilitarian player who always put his talent and ability at the service of the game, he never used them as a tool for an exclusive in-person show, but as resources to enhance team performance. There is the tale of the second goal against the English, in which he had to keep dodging players, including the goalkeeper, because he never managed to find the hole to enable Valdano, who escorted him unmarked through the center of the area. It is this characteristic and not just ability (there are quite a few skilled like him) that gives him those extra features that make him the best footballer in history.
On the contrary, and beyond Emotional and visually enjoyable cocktail shaker that your movie suggests, Some of the reviews are seen in Sorrentino for his massive way of setting up the stage. The will to make the organization of every shot, the construction of every sequence and the expression of every emotion greater than life, although not necessarily justified from a dramatic point of view. A research by which the aim seems to be to prove his ingenuity, and to put this volatility even before the needs of the story itself, which at one point would have benefited from the moderation of so much frank Neapolitan. Although it is also found where the most lovable people in his world live, he is able to convey very intense emotions every time he proposes. That is why the best thing is to let her contradictions pass by and enjoy without guilt her inexhaustible capacity for movement.
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