Il Divo

30 minutes into the film you think: when are they done with the scene-setting and the couleur locale, and when does the story start? Well: never. If you watch this movie without knowing beforehand the history and happenings that it is about, you will know nothing more by the end of the movie except that you have just thrown away nearly two hours of your life that would have been spent better even cleaning windows or walking the dog. If you did know beforehand what it is about, this movie will have added nothing to that knowledge nor wll it have given you a new perspective or a surprising angle. I rate it 3 stars out of 10: 1 for the trouble of making it, 1 for production design and 1 for including Trio's Da Da Da I Don't Love You You Don't Love Me Aha Aha Aha in the soundtrack.

One of my favorite movies and my favorite from Sorrentino. First of all, Sorrentino is a genius. The mix of music, actors, cameras etc is just incredible. The story is one that Italians are quite familiar, but as an Italian interested in politics that lives after the golden years of Democrazia Cristiana, I had to look for some information about the characters, so please do the same before watching it, especially if you aren't Italian and not familiar with Italian politics and society. The irony and black humor of the movie is one of the best ever made and the atmosphere is unique. Italian cinema is master of uniting comedy, drama and realism, and Il Divo perfectly manages in that, talking about a political figure that has dominated Italian politics for decades and making history a work of art. If you want to get into the atmosphere and tragicomedy of modern Italy, you found what you were looking for.

I am an Italian viewer and find funny to read the puzzled comments of the English and American public complaining that the movie is not understandable and blaming it on the translation. Unfortunately the reason of the difficulties to follow the plot isn't the translation or the lack of knowledge of these viewers of Italian politics but simply the sloppiness of the director in narrating the facts. This movie appeals tremendously to those ready to judge a historical politician basing their opinions on rumors sadly spread by the so called "repented" mafia members instead than on facts. Some parts can be enjoyable from a cinematographic point of view if you take the film as a Music TV video rather than a historical fair account.

I'll fully take the word of reviewer "Mario Pio" (older author of "The Story of Language" a classic book in it's field), in particular because I was very impressed by his IMDb review as "elvinjones" of Roman Polandki's Repulsion. Reviewer "Donna Augustini" saw right away the bold reference to the dramatic film of Greek politics, Z (He is alive). Other Italians saw how Sorrentini made a script and directed it as a way to say that ALL THOSE PARLIAMENTS Italy had in the 20thCentury were a script and direction by Mussolini-Andreotti-Burlesconi. Unified of Italy in 1860 Camillo Cavour also thought Nicolo Machiavelli was the greatest philosopher, later for his own purposes endorsing instead John Stuart Mill! Paolo Sorrentini was able to convey such a sweep of impressions in his own style by using printed words at the very beginning and at the end, that way making the back-and-forth of the narrative coherent. The pictures of the characters could be associated instantly with their fates.

A beautiful film; exquisite cinematography, locations and costumes. The acting is excellent throughout and the whole film has a fantastic soundtrack and audio mix. Il Divo is a surreal take on the real-life events of late twentieth- century Italian politics, centred on the life of long-serving politician Giulio Andreotti. For non-Italians and those unfamiliar with the subject matter, it might be best to watch the film twice and to read up on the facts of the story in between. Possibly, one of the most beautiful political thrillers ever made; dark, haunting, majestic and wonderfully bizarre.

Saw Il Divo at its US premiere last night at the Palm Springs International Festival. No applause when the end credits started to roll. A minute or two later a smattering of applause, mainly coming from the Italian/Mercedes Benz contingent. Could be the audience was stunned by the film. Whether that was a positive or negative reaction was communicated as people filed out of the theater, many with a puzzled and confused look on their faces. I've rarely seen so many unhappy expressions. My reaction: truly magnificent and totally stunning and innovative work as far as cinematography, editing, casting, music, sound effects, art direction. The rest of the film for me was difficult to follow, repetitive and boring. My overall reaction: a beautifully-wrapped package that totally eclipsed the gift inside.

Maybe to appreciate this move you must be an italian that lived while Andreotti was in politics...for me the movie is boring even if the cinematography and acting is realy good. In Italy we had corrucion in government then and we have corrucion now so nothing new... Screw all politicians.

The cinematography is/was excellent. 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....this is subtitled." As if I'm going to drop it on the counter- realizing, suddenly (oh my God) that this is A FOREIGN FILM- and, realizing my mistake, thanks to that warning, run back down the aisle to grab a copy of "Police Academy 12". 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.

Post-war Italy has been the story of the Christ Democrats. And they have been in many ways symbolized by Giulio Andreotti, prime minister in seven governments. He's brilliantly played here by Toni Servillo, but he's not the main character. The camera is, serving us pictures from different angles in an almost choreographic way. It puts us into a claustrophobic mode in a nowhere land, which is supposed to be Italy, heading the borders of moral chaos. It doesn't matter whether this Andreotti story is true or not. The camera work goes beyond that.