Writer/director Paolo Sorrentino unleashed a pilot of the first two episodes of a new, fictional, ten-part series titled, “The Young Pope,” at the 73rd Venice International Film Festival.
Jude Law plays the primary character, Lenny Belardo, aka Pius XIII, the first American Pope in history. Young and charming, his election appears to be the result of a simple yet effective media strategy orchestrated on behalf of the College of Cardinals. But appearances can be deceptive. And above all, in the place and among the people who have chosen the great mystery of God as their guiding compass. The place is the Vatican and the people are the hierarchical leaders of the Catholic Church. And, young Lenny Belardo, raised in an orphanage, proves to be the most mysterious and contradictory of them as Pius XIII. Shrewd yet naïve, ironic and pedantic, primeval yet modern, melancholy and ruthless, doubting yet resolute, Pius XIII is evoking a God he can give to mankind. And to himself.
Sorrentino is bound to shock the sensibilities of some of his Catholic viewers with the imagery in the opening sequence. He opens with a baby in a dimly lit St. Peter’s Square crawling over a sea of other babies until we see a man emerge from beneath the pile. A cut is made to Lenny awakening from a sleep and donning the attire of a Catholic Pope. As Lenny leaves his dressing area Sorrentino makes effective use of slow motion as he shows Lenny gracing the Vatican personnel with his presence. He glides across screen from left to right with non-diagetic music to the admiration and respect of the on-lookers until sitting upon his papal chair. He embodies a pious pose while envisioning a lovely topless blonde sitting in a green pasture as he presumably, as a young boy, looks on. He comes to and makes his way to the Papal Balcony where a deafening roar is heard from a rain-soaked crowd waiting to hear his Holiness.
Suddenly, the rain stops, the clouds clear and the sun shines forth and again the crowd roars. Lenny as Pius XIII begins a most dynamic and appropriate speech on how he serves God and how he serves the audience before switching it up telling the audience to indulge in forbidden pleasures and desires including masturbation, gay marriage and a free and liberated lifestyle. At this point, his Secretary of State tells Pius he is not the Pope, that the Secretary of State is Pope and that Pius XIII is excommunicated. A cut is made to Lenny awakening from a sleep. From here Sorrentino takes the viewer on a wild ride as he delves into the psychological state of the young pope through moments of Belardo’s introspection and through his interactions with his subordinates.
Cinematographer Luca Bigazzi creates a plethora of luscious visuals throughout the seamless show. Laura Rosenthal and Annamaria Sambucco have compiled a stellar cast. The cast does look the parts with thanks to the work of Carlo Poggioli and Luca Canfora. The musical score by Lele Marchitelli keeps pace with the action. The production design is exquisite and is handled by Ludovica Ferrario. The editing is seamless. Cristiano Travaglioli is credited with editing.
set of “The young Pope” by Paolo Sorrentino.10/22/2015 sc. 264 ep. 2In the picture Dyane Keaton.Photo by Gianni Fiorito
set of “The young Pope” by Paolo Sorrentino. 10/22/2015 sc. 264 ep. 2 In the picture Cécile De France. Photo by Gianni Fiorito
set of “The young Pope” by Paolo Sorrentino.09/11/2015 sc.219 – ep 2 in the picture Silvio Orlando.Photo by Gianni Fiorito
set of “The young Pope” by Paolo Sorrentino. 08/10/2015 sc.210 – ep. 2 in the picture Paolo Sorrentino. Photo by Gianni Fiorito
All in all, the Young Pope proved to be highly entertaining. Law brings style and swagger to the role of Lenny. Silvio Orlando brings to life the machinations and cajoling of Secretary of State, Cardinal Voiello, and Cecele De France adds nicely to the film’s rich muse-en-scene with cinematographic in close ups as the Vatican Marketer, Sofia Dubois. Last and certainly not least, Diane Keaton solidly depicts Sister Mary adding a much needed grounding presence as Sorrentino is not pulling any punches with his attempts for humor. Nevertheless, it is a delightful production with interesting dialogue and a dark, ominous and foreboding first Papal Speech.
My recommendation is don’t miss a chance to see ‘The Young Pope.’
The Young Pope is a joint Sky, HBO, CANAL+ production and will be broadcast on Sky Atlantic in 5 countries: in Italy from October 21st, in UK, Germany, Ireland and Austria from late October, and in France on CANAL+ from late October. Early indications for the US market is February 2017.
Writer/director Paolo Sorrentino has unleashed the first two episodes of a new ten-part series titled, “The Young Pope,” at the 73rd Venice International Film Festival today, September 3rd.
On set of “The young Pope” by Paolo Sorrentino. In the picture Jude Law. Photo by Gianni Fiorito
Jude Law plays the central character, Lenny Belardo, aka Pius XIII, the first American Pope in history. Young and charming, his election seems to be the result of a simple yet effective media strategy on the part of the College of Cardinals. But appearances can be deceptive. Above all, in the place and among the people who have chosen the great mystery of God as the compass guiding their existence. That place is the Vatican and those people are the leaders of the Church. And Pius XIII proves to be the most mysterious and contradictory of them all. Shrewd and naïve, ironical and pedantic, primeval and cutting-edge, doubting and resolute, melancholy and ruthless, Pius XIII tries to cross the endless river of human solitude to find a God he can give to mankind. And to himself.
Sorrentino is bound to shock the sensibilities of some of his Catholic viewers with the imagery in the opening sequence. He opens with a baby in a dimly lit St. Peter’s Square crawling over a sea of other babies until we see a man emerge from beneath the pile. A cut is made to Lenny awakening from a sleep and donning the attire of a Catholic Pope. As Lenny leaves his dressing area Sorrentino makes effective use of slow motion as he shows Lenny gracing the Vatican personnel with his presence. He glides across screen from left to right with non-diagetic music to the admiration and respect of the on-lookers until sitting upon his papal chair. He embodies a pious pose while envisioning a lovely topless blonde sitting in a green pasture as he presumably, as a young boy, looks on. He comes to and makes his way to the Papal Balcony where a deafening roar is heard from a rain-soaked crowd waiting to hear his Holiness. The rain stops, the clouds clear and the sun shines forth and again the crowd roars. Lenny as Pius XIII begins a most dynamic and appropriate speech on how he serves God and how he serves the audience before switching it up telling the audience to indulge in forbidden pleasures and desires including masturbation, gay marriage and a free and liberated lifestyle. At this point, his Secretary of State tells Pius he is not the Pope, that the Secretary of State is Pope and that Pius XIII is excommunicated. A cut is made to Lenny awakening from a sleep. From here Sorrentino takes the viewer on a wild ride as he delves into the psychological state of the young pope through moments of Belardo’s introspection and through his interactions with his subordinates.
Cinematographer Luca Bigazzi creates a plethora of luscious visuals throughout the first two episodes seamlessly shown. Laura Rosenthal and Annamaria Sambucco have complied a stellar cast. The cast does look the parts thanks to the work of Carlo Poggioli and Luca Canfora. The musical score by Lele Marchitelli keeps pace with the action. The production design is exquisite and is handled by Ludovica Ferrario. The editing is seamless. Cristiano Travaglioli is credited with editing.
set of “The young Pope” by Paolo Sorrentino.09/11/2015 sc.219 – ep 2 in the picture Silvio Orlando.Photo by Gianni Fiorito
set of “The young Pope” by Paolo Sorrentino.10/22/2015 sc. 264 ep. 2In the picture Dyane Keaton.Photo by Gianni Fiorito
set of “The young Pope” by Paolo Sorrentino. 10/22/2015 sc. 264 ep. 2 In the picture Cécile De France. Photo by Gianni Fiorito
All in all, the Young Pope proved to be highly entertaining. Law brings style and swagger to the role of Lenny. Silvio Orlando brings to life the machinations and cajoling of Secretary of State, Cardinal Voiello and Cecele De France adds nicely to the film’s rich cinematography in close ups as the Vatican Marketer Sofia Dubois. Last and certainly not least, Diane Keaton solidly depicts Sister Mary adding a much needed grounding presence as Sorrentino is not pulling any punches with his attempts for humor. Nevertheless, it is a delightful production with interesting dialogue and a dark, ominous and foreboding first Papal Speech.
My recommendation is don’t miss a chance to see ‘The Young Pope.’ Go for it! God willing…
The Young Pope is a joint Sky, HBO, CANAL+ production and will be broadcast on Sky Atlantic in 5 countries: in Italy from October 21st, in UK, Germany, Ireland and Austria from late October, and in France on CANAL+ from late October.
Director’s Note
“The clear signs of God’s existence. The clear signs of God’s absence. How faith can be searched for and lost. The greatness of holiness, so great as to be unbearable when you are fighting temptations and when all you can do is to yield to them. The inner struggle between the huge responsibility of the Head of the Catholic Church and the miseries of the simple man that fate (or the Holy Spirit) chose as Pontiff. Finally, how to handle and manipulate power in a State whose dogma and moral imperative is the renunciation of power and selfless love towards one’s neighbour. That is what The Young Pope is about”.
Paolo Sorrentino Biography
Paolo Sorrentino, director and screenwriter, was born in Naples in 1970. In 2001, he made his first feature-length film, One Man Up (L’uomo in più), starring Toni Servillo and Andrea Renzi. The movie, selected for the Orizzonti section at the Venice Film Festival, was nominated for three David di Donatello Awards, won a Silver Ribbon for best new director, and two Golden Goblet Awards. In 2004, he directed his second movie, The Consequences of Love (Le conseguenze dell’amore). An in-competition selection at the Cannes Film Festival, the movie received many awards, including five David di Donatello Awards, four Silver Ribbons and five Golden Ciak Awards. In 2006, he made his third feature, The Family Friend (L’amico di famiglia), which was presented in competition at the Cannes Film Festival and later participated at numerous international festivals.
In 2008, Paolo Sorrentino returned for the third time to the Cannes Film Festival in competition with his movie Il Divo, starring Toni Servillo, and was awarded the Prix du Jury. The movie later received seven David di Donatello Awards, five Golden Ciak Awards, five Silver Ribbons, and an Oscar® nomination for Best Achievement in Makeup. In 2010, Feltrinelli published Sorrentino’s first novel, Hanno tutti ragione. The book was a popular and critical success and was a finalist for the Strega Prize. In 2011, This Must be the Place marked Sorrentino’s directing debut in English. Starring Sean Penn and Frances McDormand, the movie was presented in competition at the 64th Cannes Film Festival and received numerous awards, including six David di Donatello Awards, three Silver Ribbons and four Golden Ciak Awards. In 2012, Feltrinelli published Sorrentino’s second book, Tony Pagoda e i suoi amici.
In 2013, The Great Beauty (La grande bellezza), starring Toni Servillo, Carlo Verdone and Sabrina Ferilli, brought Paolo Sorrentino for the fifth time to the Cannes Film Festival in competition. The movie won many awards, including an Oscar® and a Golden Globe® for Best Foreign Language film, a BAFTA for Best Film Not in the English Language, and five important EFA awards, including Best European Film, Best European Director and Best European Actor. The movie was sold to over fifty countries and was in the Top Ten of the best movies of the year, according to the prestigious English magazine “Sight & Sound.” In 2015, Youth (Youth-La giovinezza), Paolo Sorrentino’s second movie in English, starring Michael Caine, Harvey Keitel, Rachel Weisz, Paul Dano and Jane Fonda, was presented in competition at the Cannes Film Festival. It earned three European Film Awards: Best European Film, Best European Director and Best European Actor. The movie also received an Academy Award nomination for Best Original Song and two Golden Globe nominations for Best Supporting Actress and best Original Song, as well as two David di Donatello
Awards and three Silver Ribbons.
(Excerpts from The Young Pope Pressbook)
*Featured image – The Young Pope director Paolo Sorrentino (Courtesy of ASAC/ Gianni Fiorito)
After premiering three major Academy Award winners in a row, the world’s oldest film fest is once again Hollywood’s awards-season launchpad.
The past few years, while Toronto bickered with Telluride over which festival could screen which premiere when and where, Venice — after some decidedly lackluster editions — took the high road and worked on improving. The result? It’s back on top after a scorecard that saw successful Oscar wins for Venice premieres three years in a row: Gravity, Birdman and, last year, Spotlight. Hollywood has taken notice. The festival is filled with studio titles this year, which means the red carpet will be filled with A-list talent. The four premieres that already are garnering awards buzz:
La La Land’s Oscar Launch
With Venice proving to be a good luck charm at the Oscars, one young contender seems to be taking the hint. Damien Chazelle is following up his 2014 best picture nominee Whiplash with festival opener La La Land. The musical stars Ryan Gosling as a jazz pianist who falls in love with an aspiring actress (Emma Stone). The Venice committee, after watching the film, immediately offered Lionsgate the opening slot. “I was so honored to get the invitation to open Venice,” says Chazelle. “It’s the kind of place that seems to belong in a dream. That’s the feeling I wanted to capture with this movie: the way things look and sound in a dream, the magic and the romance of it all.”
Chazelle adds that it was a natural choice to follow up his critically acclaimed Whiplash with the challenging genre of the musical. “The thing I love about musicals is that everything is possible. You can combine all the arts — music, dance, painting, theater — to collectively produce an emotion that can’t be conveyed by words,” he says. “I wanted to try and make a film that told an honest, intimate story but also allowed for that kind of big-screen moviemaking.”
Festival director Alberto Barbera believes that the film, a tribute to old Hollywood musicals, is a natural candidate for the Oscars. “It has all the elements,” he says. “It’s a wonderful story, a classic film. It’s extremely well done with two outstanding lead performances. You have to go back to the ’60s and ’70s to see something that is similar to those performances. It has beautiful music, beautiful dance performances. Everything in the film is definitely outstanding.”
While Lionsgate is planning a big launch at the festival, unfortunately Gosling will not be present, as he couldn’t escape filming duties for Blade Runner 2. Stone will be back in Venice after her 2014 success with Birdman led her to an Oscar nomination.
Mel’s Big Comeback
After a public meltdown of epic proportions, Mel Gibson retreated from the spotlight, putting his work behind the camera on hold. Now Venice is premiering his first directorial effort since Apocalypto (2006). Never one to retreat from challenging topics, Gibson explores the true story of Desmond Doss (Andrew Garfield), the first conscientious objector awarded the Congressional Medal of Honor, in the World War II drama Hacksaw Ridge.
“The movie is special,” says Stuart Ford, CEO of IM Global, which co-financed the film, putting up approximately half of the budget. “Audiences can look forward to a picture that is both an old-school, action-packed wartime epic and also an intelligent and very moving present day statement on the nature of conflict and forgiveness.”
Barbera firmly believes the film marks Gibson’s comeback. “There is a high expectation of course after the previous films and all the issues around his bizarre attitude. I didn’t know what I was going to say when I saw the film,” he says. “I was quite surprised because it is a beautiful, classic war film about a courageous hero and the capability to put one’s own life before others. I think it’s proved that he’s a really great director and I hope that it will forgive some mistakes that he did and some unacceptable behaviors in the past.”
Paolo Sorrentino’s TV Debut
It’s not just films that are having their moment in Venice. HBO’s launch of Olive Kitteridge in Venice led it to pick up eight Emmy awards last year. As more and more acclaimed cinema directors make the leap into longform TV, all eyes will be on Oscar winner Paolo Sorrentino’s TV debut The Young Pope, starring Jude Law as a fictional American pope who is conservative, politically conniving, and incredibly self-reflective. The production is a joint effort of HBO, Sky and Canal Plus.
“The Young Pope is a 10-part series but at the same time is a collection of 10 movies, each of them with Sorrentino’s unique flair and enthusiasm in innovating visual storytelling, featuring an inimitable top-notch technical and quality style and starring an outstanding international cast,” says Andrea Scrosati, executive vp programming of Sky Italia says. “So there could not be a more suitable venue than the Venice Film Festival to premiere the first two episodes of this show, and this choice confirms, if any additional proof were needed, that the distinction between cinema and television no longer exists: It all comes down to storytelling.”
FremantleMedia International, which is handling sales, has, not surprisingly, already begun closing deals ahead of the Venice launch. “Jude Law plays a hyper-contemporary and conservative pope, revolutionary, a fundamentalist who goes through life with an absolute faith and devotion to God,” says Lorenzo Mieli, CEO of FremantleMedia Italy. “And all the while he continuously poses to himself and to us the question we are all compelled to ask at least once in our lives: What do we mean exactly when we talk about faith and God? Stories and themes like these inevitably involve a wide audience from each country.”
Sorrentino agrees with the potential wide appeal of the series. “Beyond the interest for the Vatican, a closed and mysterious place, the series turns its attention to the Vatican’s inhabitants,” he says. “I think that the audience, regardless of where they’re from, will be captivated by the human and spiritual lives of these people.”
And with the American election coming up, Sorrentino believes that the candidates could also heed the advice of The Young Pope. “There is always danger around the corner,” he says. “The private biography of a leader can influence his choices for the collective interest of the people and that these choices could be dangerous and ineffective.”
Focus Features’ $20 Million Gamble
Last year, Focus Features paid a reported $20 million for Nocturnal Animals, Tom Ford’s sophomore directorial effort.
Now, Focus is planning on betting a big chunk of their Oscar-campaign money on the dark romance based on Austin Wright’s novel Tony and Susan andstarring Amy Adams and Jake Gyllenhaal. Adams plays an art gallery owner who receives her ex-husband’s violent manuscript in the mail, which she interprets as a threatening tale of revenge and regret. It plays out as a story within a story as Isla Fisher plays Adams in novel form.
Could the L.A.-set noir finally deliver Amy Adams and/or Jake Gyllenhaal their long-awaited Oscars? Focus hopes so, with many more categories to push for. “The film will be one of the highlights of Venice,” says Barbera. “Both Amy Adams and Jake Gyllenhaal could start an Oscar campaign from Venice, definitely.”
Jude Law plays the primary character, Lenny Belardo, aka Pius XIII, the first American Pope in history. Young and charming, his election appears to be the result of a simple yet effective media strategy orchestrated on behalf of the College of Cardinals. But appearances can be deceptive. And above all, in the place and among the people who have chosen the great mystery of God as their guiding compass. The place is the Vatican and the people are the hierarchical leaders of the Catholic Church. And, young Lenny Belardo, raised in an orphanage, proves to be the most mysterious and contradictory of them as Pius XIII. Shrewd yet naïve, ironic and pedantic, primeval yet modern, melancholy and ruthless, doubting yet resolute, Pius XIII is evoking a God he can give to mankind. And to himself.
